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August 31, 2011

Conference on Southeast Asian Music at UP College of Music

Conference on Southeast Asian Music at UP College of Music The University of the Philippines (UP) College of Music in Diliman, Quezon City is holding a two-day conference on the broad theme, "The Impact of Music in Shaping Southeast Asian Societies" on 2-3 September 2011.

In the conference are some sixteen foreign scholars who are teaching in various universities around the world and sixteen local speakers, most of who are PhD faculty of the UP College of Music. All speakers have published on Southeast Asian music. They will read research papers on wide-ranging topics such as music in cultural exchanges in the region, the collective memory of place, national identity construction, structuring of social relations, the sustenance of local, translocal, and cosmopolitan sensibilities, and on the music of drastic social movements that reconfigured ways of building societies. Professor emeritus Dr. Ramon P. Santos of the UP College of Music will be the keynote speaker.

College and university teachers of humanities (music included), history, and social sciences are encouraged to attend and participate in the conference. Conference registration costs 2,500 pesos (inclusive of conference kit and food). A discount of 20% is offered to early bird registrants on or before 18 August, 5pm.

Two separate concerts, one on September 2 will feature the outstanding Filipina pianist who is currently teaching in Austria, Aima Labra-Makk. She will play rarely-heard contemporary music in Manila, especially by Jeno von Takacs who taught at the University of the Philippines Conservatory of Music from 1932 to 1933. The other concert on September 3 will feature Arwin Tan conducting the Novo Concertante Manila, singing songs from the last half of 17h century Manila to 1986 EDSA recolution. The concert will also present pianists Augusto Espino and Lorenzo Medel who will play immortal pieces that were played in Filipino tertulias (evening salon parties) during the last half of 19th century to 1930s. The show will also feature Joey Ayala who will be render his kundiman-like pop song Walang Hanggang Paalam, and Maguindanaon kulintang artists Kanapia Kalanduyan with TUGMA, the resident Asian music ensemble of the UP.

For further details about the conference and for tickets to the accompanying concerts, please call 929.6963 (Josie) or 926.0026 (Yvette).

August 30, 2011

CCP Calendar of Events - September 2011



SEPTEMBER

01
COUNTDOWN TO A CENTURY
The Cultural Center of the Philippines in cooperation with the UP College of Music presents the UP Orchestra in “Countdown to a Century”. The concert features the young talents of the University of the Philippines Orchestra under conductors Rodney Ambat and Edna Marvil Martinez in celebration of the Centennial of the UP College of Music.
Programme:
Beethoven - Coriolan Overture and Symphony No. 1 in C Major
Britten – Simple Symphony for Strings, Abelardo’s Piano Concerto
with piano soloist Nita Abrogar-Quinto
Buenaventura – By the Hillside
Time: 8:00 PM
Venue: Tanghalang Nicanor Abelardo (CCP Main Theater)
Tickets: P1000 | P800 | P500 | P200


03 – 04
HINILAWOD
Hinilawod is an epic poem written by the early inhabitants of a place called Sulod in central Panay. The word means tales from the mouth of the Halawod River. Hinilawod is not just a literary piece but also a source if information about culture, religion and rituals of the ancient people of Sulod; showing us that ancient Filipinos believed in the “sacred,” in the importance of family honor and in courage and dignity.
Date & Time: September 3-4 at 3PM and 8PM
Venue: Tanghalang NIcanor Abelardo (CCP Main Theater)
Ticket price: P


09
PPO 2011-2012 SEASON CONCERT 1: “A HERO’S LIFE”
Olivier Ochanine, Conductor
Renato Lucas, cello
Programme:
Saint-Saens, Camille - Bacchanale from Samson and Delilah
Elgar, Edward - Cello Concerto
Strauss, Richard - Ein Heldenleben
Time: 8:00 PM
Venue: Tanghalang Nicanor Abelardo (CCP Main Theater)
Tickets: P1000 | P800 | P500 | P350 | P200


16 – 18
CINDERELLA
(Philippine Ballet Theater)
The timeless tale of Cinderella captivates audiences everywhere. This well-loved rags-to-riches story mirrors every person’s dream to find true love, long-lasting happiness and a better life. Cinderella teaches children and adults alike that dreams can come true and that happiness is not in material wealth but in the heart that is pure.
Dates &Time: September 16 at 8:00 PM (Gala) / September 17 at 3:00 PM and 8:00 PM / September 18 at 3:00 PM
Venue: Tanghalang Nicanor Abelardo (CCP Main Theater)
Ticket price: P1000 | P800 | P 600 | P300 (Gala and Evening Shows)
P600 | P400 | P300 (Matinee Shows)


23 – 25
INAMORATA
(Ballet Philippines)
Ballet Philippines presents INAMORATA, which highlights the versatility and range of the country's premier professional ballet and contemporary dance company. Celebrating the many Faces of Eve, it shows classical pieces like "The Dying Swan" and all new pieces by the country's top choreographers like Alden Lugnasin and Denisa Reyes. Guest artists include sopranos Rachelle Gerodias and Camille Lopez Molina, while fashion designers Rajo Laurel, Ito Curata, Jojie Lloren and Lulu Tan Gan design the costumes.
Date: September 23-25, 2011
Venue: Tanghalang Nicanor Abelardo (CCP Main Theater)
Tickets: P1000 | P800 | P700 | P500 | P400 (Evening Shows)
P600 | P500 | P400 | P300 | P200 (Matinee Shows)


24
MIKIT TAMU KING MILABAS (Romancing the Past)
MIKIT TAMU KING MILABAS (Romancing the Past) is a collection of ArtiSta.Rita Zarzuelas celebrating Pampanga’s beautiful music and rich cultural heritage. Coinciding with ArtiSta.Rita’s 10th anniversary, this musical revue showcases excerpts from the group’s most unforgettable and outstanding musicals staged in the last 10 years.
Date & Time: September 24 at 4:00 PM
Venue: Tanghalang Aurelio Tolentino (CCP little Theater)
Ticket: P1,500


28
MEN WITH GUITARS
Watch prize winners of the 1st Philippine International Guitar Competition 2011 Ramoncito Carpio and Arthur Erskine Basilio perform together in “Men with Guitars”. Ramoncito Carpio won the top prize in the 2st Philippine International Guitar Competition 2011, 3rd Prize in the 2011 Singapore International Guitar Competition, 3rd Prize in the 2010 Bangkok International Competition and 2nd Prize in the 2009 NAMCYA Guitar Competitions, Category C. Arthur Erskine Basilio won the special prize as “Best Filipino Guitarist” in 1st Philippine International Guitar Competition 2011 and 3rd Prize int eh 2006 NAMCYA Guitar Competitions, Category C. A must see for guitar lovers.
Date & Time: September 28 at 8:00 PM
Venue: Tanghalang Nicanor Abelardo (CCP Main Theater)
Ticket price: Php 600.00

28 – 30
TANGHALIN ANG TANGHALAN!
1ST NATIONAL THEATER AESTHETICS CONFERENCE
Tanghalin ang Tanghalan! The 1st National Theater Aesthetics Conference is a gathering of theater artists-scholars which aims to share initial findings on regional theater experiences conducted in Luzon,Visayas,Mindanao and the NCR in 2009.Tanghalin ang Tanghalan hopes to develop critical lenses to better appreciate the particular qualities of theater work in the regions. Sponsored by the National Commission for Culture and the Arts, Cultural Center of the Philippines in cooperation with Teatro Sambisig, Inc.,Alyansa,Inc. Barasoain Kalinangan Foundation Inc,ARTIST,Inc. Pasundayag Theater Network,Teatrokon, MINDULANI Theater Network,CAST,Inc.
Participation is invitational.
Dates: September 28-30,2011
Venue: CCP Silangan Hall


A TONY PEREZ RETROSPECTIVE
(Tanghalang Pilipino, Inc.)
A festival of plays by Tony Perez, one of TP’s most prolific playwrights. His plays deal with adult themes such as intense love, betrayal, separation, compassion, poverty, hunger, marriage, birth and death. All with a particular style and poignant perspective unique to Tony Perez. The festival of plays includes “Bombita”, Dennis Marasigan, director, “Sierra Lakes”. Tess Jamias, director, and “Nobyembre, Noong Akala Ko’y Mahal Kita”, Tuxqs Rutaquio, director.
Dates: September 30, 2011 / October 2, 7-9, 14-16, 21-23, 2011
Venue: Tanghalang Huseng Batute (CCP Studio Theater)
Ticket: P800

August 29, 2011

CCP Calendar of Events - September 2011

UP ORCHESTRA PLAYS AT THE CCP

The University of the Philippines Orchestra heralds the start of celebrations for the 100th anniversary of the UP College of Music in 1916 with a concert at 8 PM, September 1, 2011 at the Cultural Center of the Philippines’ Tanghalang Nicanor Abelardo. Billed Countdown to a Century, the concert will feature pianist Nita Abrogar-Quinto with the UP Orchestra with conductors Michi Martinez and Rodney Ambat.

The UP Orchestra was revitalized in 2003 by Dean Ramon Acoymo at the UP College of Music. It serves two purposes, that of a laboratory class for string and wind majors and as one of the University’s performing groups. The UP Orchestra has made significant contribution to the university by the uplifting the standard of training that students receive in orchestral performance studies. It gears itself towards developing more symphonic programs while striving to be the best training venue of the future professional orchestral musicians of the country. It has had many successful performances, some which have featured the country’s most distinguished artists.

The 65-strong UP Orchestra is under the shared directorship of Prof. Edna Marcil “Michi” Martinez and Prof. Rodney Ambat.

For the concert at the CCP, the UP Orchestra will perform two works by Beethoven, namely the Coriolan Overture and Symphony No. 1, under the baton of Prof. Rodney Ambat, in the first half of the program. Prof. Edna Marcil Martinez leads the Orchestra in the second half of the program feature Britten’s Simple Symphony for Strings, Abelardo’s Piano Concerto with Nita Abrogar-Quinto as soloist, and Antonino Buenaventura’s By the Hillside.

Countdown to a Century will raise funds for the UP College of Music Alumni Association (UPCMuAA) which promotes the development and training of young Filipino musicians. In particular, the concert is a fundraising effort for the UPCMuAA Students’ recital fund and the development of the UP Orchestra.

For tickets and information, please call the CCP Box Office at 832-3704 or the CCP Music Division at 832-2314.

August 28, 2011

PINK EYE Jaipur Animation Film Festival

Jaipur International Film Festival Trust 08.09.2011
Submissions are now open for the first edition of the PINK EYE Jaipur Animation Film Festival. The festival which is scheduled for October 12, 2011 was announced by Jaipur International Film Festival Trust, in a press conference in Jaipur recently.

The last date for film submission would be September 15, 2011.The inaugural edition of the festival will announce a total of 10 awards.

Entry forms can be downloaded from www.jaffindia.org. Submit online.

August 27, 2011

CCP Calendar of Events - August 2011

UP ORCHESTRA PLAYS AT THE CCP

The University of the Philippines Orchestra heralds the start of celebrations for the 100th anniversary of the UP College of Music in 1916 with a concert at 8 PM, September 1, 2011 at the Cultural Center of the Philippines’ Tanghalang Nicanor Abelardo. Billed Countdown to a Century, the concert will feature pianist Nina Abrogar-Quinto with the UP Orchestra with conductors Michi Martinez and Rodney Ambat.

The UP Orchestra was revitalized in 2003 by Dean Ramon Acoymo at the UP College of Music. It serves two purposes, that of a laboratory class for string and wind majors and as one of the University’s performing groups. The UP Orchestra has made significant contribution to the university by the uplifting the standard of training that students receive in orchestral performance studies. It gears itself towards developing more symphonic programs while striving to be the best training venue of the future professional orchestral musicians of the country. It has had many successful performances, some which have featured the country’s most distinguished artists.

The 65-strong UP Orchestra is under the shared directorship of Prof. Edna Marcil “Michi” Martinez and Prof. Rodney Ambat.

For the concert at the CCP, the UP Orchestra will perform two works by Beethoven, namely the Coriolan Overture and Symphony No. 1, under the baton of Prof. Rodney Ambat, in the first half of the program. Prof. Edna Marcil Martinez leads the Orchestra in the second half of the program feature Britten’s Simple Symphony for Strings, Abelardo’s Piano Concerto with Nina Abrogar-Quinto as soloist, and Antonino Buenaventura’s By the Hillside.

Countdown to a Century will raise funds for the UP College of Music Alumni Association (UPCMuAA) which promotes the development and training of young Filipino musicians. In particular, the concert is a fundraising effort for the UPCMuAA Students’ recital fund and the development of the UP Orchestra.

For tickets and information, please call the CCP Box Office at 832-3704 or the CCP Music Division at 832-2314.

August 26, 2011

Asian Summit on Natural History Filmmaking on Dec. 2011

CMS VATAVARAN 08.09.2011

The specialised field of natural history filmmaking is fast becoming popular in Asian countries. Not only Asian countries are becoming important destinations for natural history filming, a new breed of talented filmmakers from these countries has also emerged in the last one decade, doing commendable work. Asian filmmakers have also been participating in various international festivals and forum and their work has been duly recognised and appreciated.

Still, it’s a challenging task to ensure that talented filmmakers of Asian countries develop a strong foothold in the international arena. Many filmmakers visit these film festivals in Europe and North America to look out for production assignments and market for their film. But a majority of filmmakers do not get an opportunity for attending these festivals due to resource constraints. They have limited access to reputed international channels, project commissioners and editors. It minimises their chances of getting any kind of opportunities for gaining the experience and expertise needed to compete in this highly competitive field of wildlife filmmaking. The big channels and production houses still shy away from commissioning programmes in a big way to Asian filmmakers and only selected filmmakers get the opportunity to work with them.

It is in this scenario that CMS VATAVARAN (http://cmsvatavaran.org/)proposes to organise a summit of Asian filmmakers and international channel programme heads, buyers and commissioning editors, set on December 07-10, 2011 at New Delhi.

Objective
Asian Filmmakers Summit will act as an important platform for Asian filmmakers seeking international production assignments as well as a market for their film and creative skills. For international commissioning heads it will be an opportunity to meet new filmmakers

The summit would also highlight and underscore the fact that that wildlife and natural history making traditions in South Asia are different from those in Europe and North America. More so, when it comes to broadcast commissioning. While in West prime channels invest funds upfront in films under production, in return for exclusive rights, this concept is uncommon or non-existent in most Asian countries including India and Sri Lanka, where film makers have to find production funds from outside the broadcast industry.

In the current scenario, Asian filmmakers are clamouring to get broadcast commissions from European and North American broadcasters who dominate the commissioning market worldwide.

The exchange platform will also develop and nurture the culture of broadcast commissioning, which is still confined to Europe and USA, in much of Asia.

Programmes
• Pitching sessions
• Trade show
• Film Booth

For registration please contact

Narender Yadav
M: 9899979160
narender@cmsindia.org

August 25, 2011

Alliance Française Launches AFM-PARP 2011

Alliance Française de Manille is pleased to announce the launch of its 2011 artist residency grants program (AFM-PARP). Now on its second year, the AFM-PARP offers Filipino artists the possibility of a structured visit to France for a period of two to three months. The residency will be hosted by a French non-profit cultural organization, artist residence, or artist-run initiative. It is conceived as a professional opportunity rather than a project-based grant. Its aim is enrich the experience of Filipino artists by affording them the opportunity for contact with the contemporary art scene in France.

The recipient of the first AFM-PARP grant was printmaker Ma. Victoria “Ambie” Abaño, who is now on her second month of residency at the Cité Internationale des Arts in Paris. She is enrolled at the print atelier La Taille-Douce, and will hold an “open studio” at the Cité on July 20.

The AFM-PARP is open to all Filipino visual artists: painters, sculptors, multi-media artists, and photographers. One residency is offered annually, to take place in the spring or autumn months. The AFM-PARP provides a financial grant to cover costs of travel and living expenses. The grantee may also avail of a free French language course at AFM.

The AFM-PARP 2011 application period is July-October 2011, and the deadline for submission of applications is 31 October 2011.

The AFM-PARP 2011 application form/brochure is available at Alliance Française de Manille, 209 Nicanor Garcia St., Bel-Air II, Makati City. It will also be available at the National Commission for Culture and the Arts (NCCA), the Cultural Center of the Philippines (CCP), and can be downloaded from the AFM website at www.alliance.ph.

Contact Tel.: +63 2 895 7585 / +63 2 895 7441 Fax.:+63 2 899 3654 Email: info@alliance.ph

Alliance Française Launches AFM-PARP 2011


Alliance Française de Manille is pleased to announce the launch of its 2011 artist residency grants program (AFM-PARP). Now on its second year, the AFM-PARP offers Filipino artists the possibility of a structured visit to France for a period of two to three months. The residency will be hosted by a French non-profit cultural organization, artist residence, or artist-run initiative. It is conceived as a professional opportunity rather than a project-based grant. Its aim is enrich the experience of Filipino artists by affording them the opportunity for contact with the contemporary art scene in France.

The recipient of the first AFM-PARP grant was printmaker Ma. Victoria “Ambie” Abaño, who is now on her second month of residency at the Cité Internationale des Arts in Paris. She is enrolled at the print atelier La Taille-Douce, and will hold an “open studio” at the Cité on July 20.

The AFM-PARP is open to all Filipino visual artists: painters, sculptors, multi-media artists, and photographers. One residency is offered annually, to take place in the spring or autumn months. The AFM-PARP provides a financial grant to cover costs of travel and living expenses. The grantee may also avail of a free French language course at AFM.

The AFM-PARP 2011 application period is July-October 2011, and the deadline for submission of applications is 31 October 2011.

The AFM-PARP 2011 application form/brochure is available at Alliance Française de Manille, 209 Nicanor Garcia St., Bel-Air II, Makati City. It will also be available at the National Commission for Culture and the Arts (NCCA), the Cultural Center of the Philippines (CCP), and can be downloaded from the AFM website at www.alliance.ph.

Contact Tel.: +63 2 895 7585 / +63 2 895 7441 Fax.:+63 2 899 3654 Email: info@alliance.ph

August 24, 2011

CCP Calendar of Events - August 2011

CCP HOLDS 1ST INTERNATIONAL JAZZ FESTIVAL
The Cultural Center of the Philippines will be a-thumping with the sound and beat of jazz music when it holds The Story of Jazz: 1St CCP International Jazz Festival 2011 on August 23-28, 2011.

More than 150 jazz musicians from different jazz groups will converge at the CCP to jive and jam in various venues of the CCP that will be transformed into one big jazz club with intimate music lounges. Jazz players and singers from the Philippines and abroad will tell the story of jazz through talk and music. Lectures on and performances of jazz in all its variety of styles---bebop, blues, ragtime, modal, experimental, big band and fusion will be held.

Leading the roster of performers is the world renowned royal hartigan and blood drum spirit from the USA. Percussionist and pianist royal hartigan and his blood drum spirit ensemble have performed all over the world, exploring the great music traditions of the world through live jazz performances. The group has been described by music reviewers as “the confluence of different musical traditions, combining non-Western rhythms with a standard jazz quartet to create a series of impressive originals”

Other performers include the Korean Soul and Beat Project Group from Korea, Stelzhamma from Austria, Shun Kikuta from Japan, Neris Gonzalez from Spain, Charito, Michael Bourne and the Bleu Rascals, Lowcal, Blue Rats, Faith Gospel Singers, the UP Jazz Ensemble, UST Jazz Ensemble, Cooky Chua and her band, Majam and Emi Munji and the AMP Band.

A video documentary on the Story of Jazz in the Philippines produced by Richie Quirino and Collis Davis Jr. will also be shown. Performance venues include the Tanghalang Nicanor Abelardo (Main Theater), Tanghalang Huseng Batute (Studio Theater), and the Silangan Hall. The MKP Multi-Purpose Hall will serve as the venue for all the lectures.

On August 28 at the CCP Main Theater, the Festival will come to a swinging finish in a concert headlined by the UP Jazz Ensemble, Charito with the AMP Band.

"The event will not only see the largest gathering of local and foreign jazz artists at the CCP for the first time. It will also be a time for these foreign and local artists bond together and collaborate, in this enjoyable language of musical expression.", CCP Music Division head Menchi Mantaring said.

Tickets prices to the events at the Tanghalang Nicanor Abelardo (Main Theater) are P800, P600, P400 and P200. Ticket price to all concerts at the Tanghalang Huseng Batute and the Silangan Hall are at P300. All lectures and workshops at the MKP Multi-Purpose Hall are at P100. The standard 50% discount for students and 20% for senior citizens apply.

LIMITED Festival passes will be available on a first-come, first-served basis.

Festival pass--- Php1,200.00
- access to all shows at the Main Theater (TNA), TNA Stage, Silangan and Tanghalang Huseng Batute, and to all the lectures and workshops at MKP

Flexi pass---Php 500.00
- access to one (1) performance at the Main Theater (TNA) or Main Theater (TNA) Stage, one (1) performance at Tanghalang Huseng Batute, and one (1) access to a lecture or workshop at MKP

One day pass--- Php 500.00
- access to all shows, lectures and workshops in one day

To avail of the passes, call at 832-3706, 832-3704 or at 0920-949-7821 (Gemma Marco)

PHL Celebrates Buwan ng Wikang Pambansa


The country celebrates August as “Buwan ng Wikang Pambansa” (National Language Month) per Proclamation No. 1041, series of 1997, as declared by Former President Fidel Ramos. This year’s theme is, “Ang Filipino ay Wikang Panlahat, Ilaw at Lakas sa Tuwid na Landas.”

The celebration is highlighted by “Linggo ng Wika” (National Language Week) in the first week of August, to focus on the significance of “Filipino” as the country’s national language.

The Constitution provides that, “the national language of the Philippines is Filipino. On November 12, 1937, the first national assembly in the Philippines approved a law creating the National Language Institute to study and survey the existing native languages, with a view to choosing one to be used as a basis for the national language.

The national language celebration started on March 26, 1946, when President Sergio S. Osmeña issued Proclamation No. 35 designating March 27 to April 2 each year as “National Language Week.” On September 23, 1955, President Ramon F. Magsaysay issued Proclamation No. 186 changing the date of the celebration to August 13-19 in honor of the Birth Anniversary of President Manuel L. Quezon, considered the “Father of National Language.”

After the EDSA Revolution, President Corazon C. Aquino issued Proclamation No. 19 on August 12, 1988 proclaiming National Language Week on August 13-19. To strengthen previous proclamations, President Fidel V. Ramos issued Proclamation No. 1041 on January 15, 1997, declaring the whole month of August as “National Language Month.”

This year, the Department of Education and the Komisyon sa Wikang Filipino have lined up programs to draw participation from students, the biggest group that uses and studies the national language as part of the curriculum.

The celebration is divided into five parts: August 1-7, 2011, appreciating the significance of the national anthem; August 8-14, 2011, pledging allegiance to the Philippine flag; August 15-21, 2011, using language as instrument to achieve freedom and justice; August 22-28, 2011, composing songs and writing poetry on the theme, “Wikang Filipino: Tugon sa Malinaw na Programa sa Tuwid na Landas;” and August 29-31, celebrating Filipino as the voice of teachers and students and the language of heroism.

To see the program and download all pertinent Memoranda: http://kwf.gov.ph/?p=1487

August 23, 2011

ManilArt 2011


Bonafide Art Galleries Organization (Bago) and the National Commission on Culture and the Arts (NCCA) present ManilArt 2011, the 3rd Philippine International Art Fair on Aug. 24-27 at the NBC Tent in Bonifacio Global City, Taguig.

ManilArt 2011 is the country’s biggest gathering of galleries and promises a more diverse and vibrant art exposition. “Viewers shall witness a groundbreaking launch—the simultaneous opening of various art exhibitions during gala night,” said Delan Lopez Robillos, ManilArt 2011 director. “Exhibitors will not simply be showcasing the works of artists they represent but each gallery shall be presenting a conceptualized art exhibit,” he added.

The maiden run of ManilArt in 2009 had a painting of a jeepney by Onib Olmedo as its banner piece, while 2010 bared Andres Barrioquinto’s “Crystal Gazer.” This year, ManilArt is privileged to have the artistry of highly sought painter Elmer Borlongan with his obra “Batang Edsa.”
This year's fair features more than 300 represented artists and hundreds of artworks on display. Participating galleries were required to propose unique concepts for their exhibitions.

ManilArt 2011 seeks to merge the visual arts with other disciplines. Programs will include a modern-dance interpretation of Borlongan’s art by premier contemporary-dance maven and Dance Forum founder, Myra Beltran during the gala.

Among the art fair’s goals, in conjunction with promoting Philippine art, are to compound visitorship and strengthen support from both local and foreign exhibitors.

Also, a series of live sketching sessions will run every Saturday from 10 am to 2 pm at Mercato Centrale in Bonifacio Global City. Market-goers will see how different artists perceive the same subject as they create their work from scratch. Among the featured artists are NCCA-National Committee on Visual Arts Head Nemiranda and artists Al Perez, Jun Martinez, Cee Cadid, and Raul Isidro..

For details, call 5316231 or 0917-8511333, or e-mail info@manilart.com. Visit www.manilart.com.

August 22, 2011

Art 2 Art pays tribute this August to Filipino icons


Bayan Ko, a poem originally written by Jose Corazon de Jesus in 1929, and which would become the unofficial anthem of protest rallies in the 1980s, was set to music by Constancio de Guzman. Who again? Learn more about de Guzman in Art 2 Art, hosted by prima ballerina Lisa Macuja, aired nationwide every Sunday, 3:30 to 4 p.m., on DZRH (666 khz on the AM band).

Art 2 Art pays tribute this month to Filipino icons whose names and works have become bywords in Philippine culture. Macuja who leads the discussion about these personalities notes: “We also want to highlight in our program artists whose masterpieces we are so familiar with, but perhaps don't know that much about as persons.”

Art 2 Art can be viewed simultaneously on Cablelink cable television’s Channel 9 and accessed on the Internet through the website http://dzrh.tripod.com.

Produced by the Manila Broadcasting Company, Art 2 Art features the following episodes in its cultural icons series:

August 14 – Juan Luna. Prof. Michael Charleston Chua, vice president of the Philippine Historical Association and a Juan Luna enthusiast, relates anecdotes about the hero, including: his best known work, the Spoliarium; Luna's “other” life as a seafarer; and his friendship with national hero Jose Rizal whom he included in several of his paintings. Chua also shares the story behind the controversial purchase of Luna's painting, “The Parisian Life,” and the interesting interpretations that have been attached to it.

August 21 – Constancio de Guzman. Music critic and professor Antonio Hila discusses the man who rendered music to Bayan Ko, a poem originally written by Jose Corazon de Jesus in 1929 and which would become the unofficial anthem of protest rallies in the 1980s. Beyond that trademark hymn, say Hila, De Guzman produced many compositions, among them Ang Tangi Kong Pag-Ibig and Maala-ala Mo Kaya, that led him to be called the “Dean of Filipino Movie Composers and Musical Directors.”

August 28 – Art 2 Art caps the month with a tribute to a National Artist, a monthly feature of the program since it began airing in 2007.

For inquiries, please e-mail art2artdzrh@yahoo.com.ph. On Facebook, check out the account Ballerina ng Bayan for updates on Art 2 Art episodes and Ballet Manila performances.

August 21, 2011

William Opens this August

From Shakes-fear to Shakes-peer
by Rico del Rosario

If there’s a word that strikes fear among highschool students more than Calculus or History combined: it’s Shakespeare. But what’s in a name? For most students, Shakespeare has become synonymous with long poetic dialogue, archaic language, confusing histories. Shakespeare has bored many a student to tears and made their noses bleed.

Philippine Educational Theater Association (PETA) for its 44th Theater Season takes Shakespeare off the lofty pedestal and makes The Bard a “peer”, or to borrow the term of the youth today a “kabarkada”.

PETA has come up with an original play that will cure students’ Shakes-fear and and turn the Bard into a Shakes-peer: everyone’s friend.

Directed by the same woman behind the hit musical dramedy “Care Divas”, PETA Artistic Director Maribel Legarda, comes a daring play that will breakdown barriers between Shakespeare and Filipino students: “William”.

“William” is set in a high school in Metro Manila, where five young students are forced to study Shakespeare by their terror class adviser, Ms. Lutgarda Martinez.

In the process of studying, they not only realize the beauty of Shakespeare’s works but also discover themselves through Shakespeares characters. The class muse, Sofia, finds out what true beauty is through “Romeo and Juliet”; the bully, TJ, encounters humility and grace through “Hamlet”; the brainy OFW’s daughter, Estella, learns forgiveness while the student council leader, Richard, learns self-acceptance through “Merchant of Venice”; and a timid lad, Erwin, finds his voice through “Julius Caesar”.

These high school barkada soon realize that Shakespeare is not just a literary icon meant to torment their lives, but is also a friend and peer. From then on, they begin referring to Shakespeare by his first name, “William.”

Writen by Ron Capinding, “William” uses rap and hip-hop to introduce Shakespeare’s immortal characters to young audiences. It also touches on themes of adolescence, parent’s unconditional love and friendship. “William” promotes respect for teachers and classmates and advocates a love for reading and appreciating literature – Shakespeare or not.

“William” play dates are August 14, 19-21, 26-28, September 2-4, 9-11, 16-18, 23-25, 2011 with shows at 10:00A.M. and 3P.M. The PETA Theater Center is located at No. 5 Eymard Drive, New Manila, Quezon City.

William’s cast includes: Ian Segarra, Inno Martin, Anj Heruela, Joan Bugcat, John Moran, Nathan Nunag, Norbs Portales III, Rico del Rosasio, J-mee Katanyag, Julia Enriquez, Anna Luna, Meann Espinosa, Jojo Atienza, Timee Gorecho, Elmer Cruz, Cheeno Macaraig, Carlon Matobato and Justin Mactal.

Watch PETA’s “William” and breakdown Shakespeare with ease!

“William” is supported by EYP.ph, Juice.ph, ClickTheCity.com, Business World, HerWord.com and SPOT.ph. Barkada and early bird discounts are available. Tickets are Php350 (regular) and Php500 (vip). For inquiries and ticket reservations, contact PETA Marketing & PR Office at 725-6244 or 410-0821, 0917-5765400, petatheater@gmail.com. Or click HERE to purchase your tickets online.

Schedules may change without prior notice

NCCA Celebrates Indigenous Peoples’ Month in Davao Region

The National Commission for Culture and the Arts’ (NCCA) annual celebration of National Indigenous Peoples’ Month moves to Davao Region in Mindanao with Tagum City as its main venue. This October, Dayaw: Indigenous Peoples Festival 2011, under the auspices of the NCCA’s Subcommission on Cultural Communities and Traditional Arts and Mindanawon Foundation, in partnership with local governments, government agencies and the private sector, focuses the spotlight on the country’s indigenous peoples, celebrating their arts and ways of life, discussing important issues and making more people aware of the richness and importance of indigenous cultures.

The leaders and representatives of more than 100 indigenous peoples of the Philippines will converge together on October 6-10, 2011 to showcase their rituals, performing arts, cuisines, games, crafts and others. Additionally, they will be joined by delegates from Southeast Asian countries in simultaneous exchange and interactive activities such as performances, exhibitions, forums, lecture-demonstrations, workshops on traditional crafts and cuisines and indigenous games.

This year, Dayaw aims to celebrate the cultures of the Filipino people as well as those of the visiting foreign delegates by “understanding the commonalities of the various indigenous peoples.” It also aims to “strengthen/broaden the awareness, appreciation and pride of all Filipinos for our own traditional culture in the context of cross-cultural interactions in a global society.

With the theme “Paghabi ng Ating Pagkakatulad Tungo sa Kapayapaan” (Interweaving Our Commonalities Towards Peace), the festival features many components such as Tanghalang Makulay (a ritual and performing arts festival), Salu-salong Sarap (a food festival), Mga Habi ng Panaginip (an arts and crafts exhibit, focusing on basketry, textile and mat weaving), Sama-sama sa Tuwa (games/sports), and Usapang Dangal at Likhang Paghayag (forum and creative workshop on peace and unity).

The celebration is in consonance with Presidential Proclamation 1906, declaring October as National Indigenous Peoples’ Month. The NCCA has been holding major festivals for several years now in Luzon, Visayas and Mindanao. In 2007, Kalimudan: Panaghi-usa sa Mindanao (Mindanao Indigenous Peoples’ Gathering) held in Davao City in November, featured Mindanao’s ethnic groups. The following year, Timpuyog: Indigenous Peoples’ Month Celebration in Luzon was held in Santiago City, Isabela, focusing on Luzon ethnic groups and featuring performances, arts and crafts workshops, cultural awareness lectures, forums, tours, and a theme-park exhibition featuring the traditional houses, cultural resources, practices/rituals, chants, music, songs and dances, stories, traditional arts and crafts, indigenous games. In 2009, the Indigenous Peoples’ Festival was held in the Visayas, particularly in Roxas City, Capiz, called Dungog, with similar activities and aims. Last year, Dayaw 2010 was held in Metro Manila.

This festival aims provide venue for indigenous peoples to celebrate the richness of their cultures; allow cultural exchanges that will foster deeper cultural understanding to sustain a culture of peace; provide opportunity to discuss IP rights; give students and other people a chance to deepen their awareness and appreciation of indigenous cultures; recognize the expertise and contributions of indigenous communities; and advocate for the preservation as well as integration of traditional culture into the national cultural mainstream.

Dayaw 2011 is held in cooperation with local governments, National Commission on Indigenous Peoples, Department of Education, Department of Tourism, Department of Interior and Local Government, Department of Foreign Affairs, Commission on Higher Education, Philippine Information Agency, Department of Trade and Industry, National Commission for Muslim Filipino, SM City Davao, Abreeza Ayala, as well as non-governmental, socio-civic and peoples’ organizations.

The NCCA is led by its chairman, Prof. Felipe de Leon, Jr., and Malou Jacob as executive director, with Commissioner Joycie Dorado-Alegre as SCCTA head.

For details, please contact RENE NAPEÑAS, Head of the NCCA-Public Affairs and Information Office (PAIO) at cellphone number 0927-5582656 / 09285081057 or at tel. nos. 527-5529. You can also call us at 527-2192 (loc. 612-615) or email us at ncca.paio@gmail.com.

August 20, 2011

Fernando Amorsolo Mentor and Apprentice National Art Competition 2011 (Visayas Phase)

Rules and Regulations

I. Categories The competition will have 2 categories, the Mentor level, and the Apprentice level. The contestants are classified by the following requirements: Mentor - the contestant must have mounted no less than five (5) solo and/or group painting exhibitions, AND must be at least thirty (30) years of age. OR - the contestant must be a professor of Visual Arts in Painting in a College or University Apprentice - the contestant must NOT have been a finalist in any major national art competition in painting, AND must be between sixteen (16) to forty (40) years of age.

II. Stages The competition will proceed in three (3) stages, namely: Registration and Prequalification Stage, Regional Contest Stage, and National Contest Stage. 1. Registration and Prequalification Stage For Visayas, the start of registration and prequalification is on July 25, 2011 and the deadline is on August 18, 2011. A contestant is required to register to be able to participate in the competition. He/She must submit an accomplished registration form along with the required documents stated under section ‘III. Eligibilty’ and section ‘IV. Required Artworks and Documentation’. The registration form is downloadable from the website URL ‘www.fernandoamorsolo.org/maa’. A contestant can only register once and will be assigned to participate in the CRA of his/her corresponding province/city as evidenced in his/her Community Tax Certificate.

The contestant is required to submit images of four (4) artworks to be screened by the judges. Per CRA, only six (6) contestants in the Mentor Level, and six (6) contestants in the Apprentice level, a total of twelve (12) contestants, will be chosen to join their respective Regional Contest Stage. These contestants will be notified via email and registered mail. 2. Regional Contest Stage The Regional Contest Stage will be executed in four (4) phases. Each phase corresponding to the Collective Regional Areas or CRAs, which are: a. National Capital Region (NCR) b. Luzon c. Visayas d. Mindanao The areas of coverage per CRA are listed below: NCR City of Manila, Caloocan, Las Piñas, Makati, Malabon, Mandaluyong, Marikina, Muntinlupa, Navotas, Pasay, Pasig, Parañaque, Quezon, San Juan, Taguig, Valenzuela and the Municipality of Pateros Luzon Cordillera Administrative Region or CAR / Ilocos Region or Region I / Cagayan Valley or Region II / Central Luzon or Region III/ CALABARZON or Region IV-A (Cavite, Laguna, Batangas, Rizal, Quezon) / MIMAROPA or Region IV-B (Occidental Mindoro, Oriental Mindoro, Marinduque, Romblon, Palawan) / Bicol Region or Region V Visayas Central Visayas or Region VII (Bohol, Cebu, Negros Oriental, Siquijor), Eastern Visayas or Region VIII (Biliran, Leyte, Southern Leyte, Eastern Samar, Northern Samar, Samar), Western Visayas or Region VI (Aklan, Antique, Capiz, Guimaras, Iloilo, Negros Occidental) Mindanao Zamboanga Peninsula or Region IX (Zamboanga del Norte, Zamboanga del Sur, Zamboanga Sibugay), Northern Mindanao or Region X (Bukidnon, Camiguin, Lanao del Norte, Misamis Occidental, Misamis Oriental, Cagayan de Oro City, Iligan City), Davao Region or Region XI (Compostela Valley, Davao del Norte, Davao Oriental, Davao del Sur), SOCCSKARGEN or Region XII (South Cotabato, North Cotabato, Sultan Kudarat, Sarangani, General Santos), Caraga or Region XIII (Agusan del Norte, Agusan del Sur, Surigao del Norte, Surigao del Sur, Dinagat Islands), Autonomous Region of Muslim Mindanao (Basilan, Lanao del Sur, Maguindanao, Sulu, Tawi-Tawi)

Each of the selected twelve (12) contestants per CRA will be required to submit an actual work in oil or acrylic on canvas with dimensions of 24 inches by 34 inches. The contestants are given two (2) weeks to finish their entries and send to their designated regional coordinating offices (refer to section ‘V. Submission of Requirements and Artworks’).

For Visayas, the start of submission of regional entries is on August 22, 2011 and the deadline is on September 5, 2011.

For the complete guidelines and to download registration form, go to http://www.fernandoamorsolo.org/maa.htm

BALLET PHILIPPINES GOES ON TOUR

Ballet Philippines goes on International and National Tour with award-winning ballet to celebrate Rizal’s 150th
Katherine Trofeo and Jean Marc Cordero as Maria Clara and Ibarra

To coincide with the 150th birth anniversary of national hero Jose Rizal this year, Ballet Philippines will be touring its original dance production, Crisostomo Ibarra on June and October 2011 supported with a grant from the National Commission on Culture and the Arts. The ballet won Outstanding Dance Production at the 2010 Gawad Buhay awards, as well as awards for its dancers Jean Marc Cordero (Outstanding Male Lead Performer), Carissa Adea (Outstanding Featured Female Performer) and Angel Gabriel (Outstanding Featured Male Performer) for their work in the ballet.

The contemporary ballet, choreographed by Ballet Philippines’ artistic director Paul Alexander Morales, depicts Crisostomo Ibarra’s transformation from aristocratic idealist to revolutionary pragmatist. Ibarra’s internal journey begins on his travel back home, where he metaphorically resists the strong tides that sway his co-passengers.

His journey takes him to the dinner party of Kapitan Tiyago, to the streets of Manila where he confronts the bitter truth about the friars whom he held in high regard, to meeting his betrothed, Maria Clara, and finally, to being embroiled in an insurrection. The events make him realize that he can no longer deny change… that all the signs point to a course of action the old Ibarra never wanted to take.

Rizal’s narrative is rich and nuanced, and the ballet focuses on the vignettes of the novel that focus on Ibarra. With music by Jed Balsamo, and sets and costumes by Jose Melencio, the ballet does a good job at depicting the period in which it was set. It is also helped along by videos by filmmaker Ruelo Lozendo, a testament to the multi-media inclination and collaborative nature of BP’s Morales, who is also a theater director and filmmaker.

Controversial in its modern approach, one thing is for sure: students who will be watching it will be entertained as well as challenged to recall and connect the scenes with their Noli me Tangere lessons.

Ballet Philippines kicked off their tour at the birthplace of Rizal on June 19 at SM Calamba, and have performed at the Washington Sycip Park for Rizal’s descendants, in Vigan, Silliman University in Dumaguete, and Colegio San Agustin in Bacolod.

Their tour will take them to Singapore (courtesy of Air Asia), and key venues in Batangas, Cavite, Bacolod City, Iligan City, Tacloban City, Davao City and Cagayan de Oro City.

For inquiries on how to include your school or city in Ballet Philippines’ national tour, please contact Rejina Malay at (2) 551-1003 or rejinamalay@gmail.com.

August 18, 2011

PETA Summer Workshop


PETA SUMMER WORKSHOP



COURSES WE OFFER:



CHILDREN'S THEATER 2 (Ages 6-8)
CHILDREN'S THEATER 2 (Ages 9-12)
TEEN THEATER 1 (Ages 13-16)
THEATER ARTS 1 (Ages 17 up)
BASIC ACTING FOR THEATER: Theater for Artistic Development 1 (Aspiring stage performers ages 17 up)
CREATIVE MUSICAL THEATER: Theater for Artistic Development 2 (Musically-inclined individuals ages 17 up)
CREATIVE DANCE THEATER: Theater for Artistic Development 3 (Movement and dance aficionados ages 17 up)
CREATIVE PEDAGOGY: Theater-in-Education 1 (High school drama club advisers/moderators)



The Philippine Educational Theater Association (PETA) annual Summer Theater Arts Workshop offers creative learning in a fun and active way.



PETA's Children's Theater courses enable children to explore and experience music, movement and dance, visual arts, storytelling, drama improvisation, poetry and short-story writing.



Coupled with lots of fun and games, PETA's creative processes will also develop and enrich every child's imagination, inspiration, self-confidence, self-appreciation and appreciation of others, nature and culture.



The Teen Theater course challenges the experimental and adventurous nature of the youth through the unique PETA Integrated Theater Arts approach. The course mixes creative drama, creative sounds and music, creative writing, creative body movements and dance, visual arts as well as improvisational theater and new media, allowing teens to express their talents and articulate youth power as they mount their own original piece on relevant youth concerns as part of their recital.



Young aspiring actors, from 17 years old and up, can acquire fundamental knowledge, skills and attitudes in improvisational theater production, theater history, theater appreciation, aesthetics and criticism through the Theater Arts course.



PETA is also offering various advanced courses. The Basic Acting course features a series of dialogues with seasoned theater artists, coupled with motivated acting exercises which can turn anyone into a budding stage actor.



The Creative Musical Theater course has sessions on voice, composition, performance and various music explorations. Creative Dance Theater explores body and movement as media of artistic expression, and examines the rudiments of movement as a way to tell stories using various dance forms.



PETA's Creative Pedagogy is a special course for formal and non-formal teachers and educators that demonstrate various creative methodologies, approaches and philosophies in the teaching of arts and academic subjects.



CONTACT



The Marketing and Public Relations Office The PETA Theater Center 5 Eymard Drive, Brgy. Kristong Hari, New Manila, Quezon City
7256244 . 4100821
petampro@yahoo.com
peta_theaterschool@yahoo.com.ph
www.petatheater.com


WHAT PEOPLE SAY ABOUT OUR WORKSHOPS?



The PETA Village
A parent's testimony about his daughter's journey in the PETA summer workshop



This testimony was written by Wawel Mercado, a father of one of the participants to the PETA summer theater workshop. It was touching to read, and it reminded most of us about our own beginnings as theater artist-teachers.



I remember my daughter Therese's first day in PETA's Teen Summer Workshop. She was very nervous. She was new to the PETA community, and did not know anyone in the workshop, so she was naturally very anxious. "It's like my first day in school, Papa", she told me, before dropping her off in PETA. I reassured her, "It's okay, Anak. You will make new friends."



My daughter is shy, just like me. She even has trouble ordering a meal at McDonald's. But in spite of her shyness, she loves theatre. And this summer, she was willing to face her fears to pursue her love for theatre.



When I picked her up after that first day, she was beaming. She loved it! She liked her teachers, Ian and Jeff, and was excited to meet new friends from places as far away as Laguna, Quezon Province and Baguio.



So, for the next three weeks, Therese would lighten up our dinner conversations with animated stories about her experiences in PETA…

About trying to keep her balance while doing a series of movements while keeping one leg raised;
About learning an upbeat Cordillera song, with lyrics she did not understand, but with a melody that sent her dancing;
About playing "Cops and Robbers", running around the room, and always being "It", as a consequence for being late;
About doing research on Asian folklore, and writing a summary with beginning, middle and end, on the stories that she had discovered;
About making masks one day, and meeting a master mask-maker and collector the next;
About her fascinating classmate...a 12 year old, not yet a teen, but who was hands down the most talented actress in class; and about a girl named Rainbow who had a rock star grandmother.



As a fan of progressive education, I quickly recognized that what Therese was going through was quite special. PETA's summer curriculum is not just theatre. But it is multiple intelligence education coming into full play...

Movements with one leg? Bodily kinesthetic intelligence
Singing Cordillera hymns? Music intelligence
Writing folklore? Linguistic intelligence
Making masks? Artistic intelligence
Meeting new friends? Interpersonal intelligence

The multiple intelligence frame work was made popular by Harvard professor Dr. Howard Gardner only in the last 2 decades, but CB Garucho tells me that this PETA curriculum has been around since the 60s. It is the same curriculum that she went through, and she herself first experienced in PETA. Truly, our children have undergone something extremely special this summer.



But beyond the multiple intelligences, perhaps the greatest lesson that Therese has learned this summer is a lesson in humanity.



When Therese was born, her mother suffered a severe brain injury, and I have had to raise her these past 13 years as a solo parent. I know in faith that my wife Mila supports Therese with her fervent prayers, lifting up her pains and sufferings for our daughter. Because Therese is our unica hija, I have naturally become very protective of her, enrolling her in a small exclusive school where I personally know the principal and the teachers.



Coming from such a protected environment, the PETA experience opened up Therese to a bigger, harsher reality. She made friends with fellow teens who had much more challenging environments in school, and much more challenging situations at home. PETA's outreach program has allowed children from the marginalized sectors of society to have access to PETA's workshops. So from her newfound friends in her now wider circle, Therese heard stories of violent incidents in their schools, separated parents, broken families. "Papa," she would tell me ruefully, "I thought these things happened only in movies." Yet in spite of these challenges, these amazing kids are courageously able to forget all their troubles when they are on stage, when they are in theatre.



And so, our greatest lesson in humanity can perhaps be summarized this way: What we each suffer may be different. But because we all suffer, we are the same. Because we all suffer, we are human.



Consequently, Therese has become more grateful for what she has. Although her own family is different from normal, she knows that she has many things to be grateful for.



When Therese was a toddler, one of my biggest self-doubts was, "Will I be able to raise my daughter alone?" The answer to my doubts came to me in the form of an African proverb: "It takes a village to raise a child."



After 13 years, I now know with certainty that indeed a village has raised Therese. And now I am also keenly aware that PETA is not just a summer workshop, but its is already a part of the village that is raising not just Therese, but hundreds of other children as well.



To the PETA village, we shall forever be grateful. On behalf of the children and parents gathered here this afternoon, thank you PETA!



Wawel Mercado, May 2010

NCCA Gallery presents PLUS+

The NCCA Gallery presents PLUS+, the exhibit of “Whatever Salad,” a group consisting of Fine Arts students from Bulacan State University Malolos, Bulacan. The exhibition presents a mixture of street, pop art, lowbro, and modern style with works repertoire from 2D works such as paintings, photography and other media to sculpture and installation.

The exhibit is meant to put the worst parts aside, and set a mood (though sometimes nonsensical) that can communicate to the viewers the different reasons and fragments of bliss and positivity of life and death itself.
WhateverSalad is composed of young & emerging artists, Edward Pasaporte, Jasper Castor, Rome Quizon, Justine Basa, Raisa Yabut, Rudolph Doanne, Kevin Enriquez and Gerone Perez. PLUS + is their first exhibition as group with a special participation by Jonathan Ranola.
PLUS+ opens at NCCA Gallery on 11 August 2011 at 6PM.the exhibition is on view until 30 August 2011. NCCA Gallery is located at 633 Gral.Luna St. Intramuros Manila. For details about the exhibition you may contact Ethel Buluran or Mimi Santos at 527-2192 loc. 512 or email us at ncca_gallery@yahoo.com

Cebu City is ASEAN City of Culture for July 2011


The Department of Foreign Affairs (DFA) and the National Commission for Culture and the Arts declare Cebu City as an Association of Southeast Asian Nations (ASEAN) City of Culture in lavish ceremonies on July 15, 2011.

Present during the events were DFA Office of ASEAN Affairs Executive Director Olivia Palala and Director Edsel Barba, the Ambassadors of Brunei Darussalam, Indonesia, Laos, Thailand and Vietnam to the Philippines, representatives from ASEAN dialogue partners China and Japan and representatives from the Cebu government.

Among the dignitaries present were Senator Vicente Sotto III, Cebu Representative Rachelle Marguerite del Mar, National Commission of Culture and the Arts (NCCA) Chairperson Felipe de Leon and former ambassador Francisco Benedicto.

The ceremonies kicked off at the newly opened Radisson Blu Hotel, where dancers from various Cebu universities, dressed in traditional attires of ASEAN Member-States, entered the hotel's Sta. Maria Ballroom carrying the flags of the 10 ASEAN members, amidst the ecstatic beat of gongs and music.

Cebu City Mayor Michael Lopez Rama led the events, which consisted of a cultural extravaganza, sampling of Cebu's culinary art, furniture and fabric exhibit at the SM Cebu, an evening fashion show at the historic Rizal Library, and the heritage walk around Cebu City.

There was also a roundtable discussion between the city's artists and traders and the five ASEAN resident Ambassadors who attended the event, steered by NCCA Chairperson De Leon. The discussion concluded with the agreement that if ASEAN had to be a trademark of regional quality and efficiency, the ASEAN member-states should start focusing on complementing each other's expertise rather than competing with each other.

The highlight of the event was the unveiling of the "Cebu City as ASEAN City of Culture" marker at the Talamban Family Park, the same spot where the marker of the 12th ASEAN Summit was placed.

In her speech after the unveiling, Executive Director Palala noted the many reasons why Cebu qualified as an ASEAN City of Culture.

"From the historic Magellan's cross planted in the heart of the city, to the city's magnificent hotels, pristine beaches and diving spots, colorful religious and tourist festivals and vibrant industries-you name it, Cebu has it," she said.

The naming of Cebu City as an ASEAN City of Culture is line with the declaration of the Philippines as the ASEAN Culture Capital for 2010 to 2011, a project where a country is designated an ASEAN Culture Capital for two successive years. During this time, the chosen country will showcase its best cultural heritage.

To celebrate and implement the project, the Philippines has been implementing activities to showcase its rich cultural heritage.

One of these activities is the selection of several cities around the country to be given the title ASEAN City of Culture. These cities embody the uniqueness and richness of Philippine culture, as reflected in their glorious history and the creative craftsmanship of its people.

Cebu is the 10th and last Philippine city to be given the title ASEAN City of Culture, after Manila, Angono in Rizal, Tarlac City, Angeles in Pampanga, Batangas City, Roxas in Capiz, Tagbilaran in Bohol, Cagayan de Oro in Misamis Oriental and Dapitan in Zamboanga.
During the Sinulog Festival in January, it will have the honor to hand over the title of ASEAN Culture Capital to Singapore, the next ASEAN Member-State to be given the title.

August 17, 2011

PETA Workshop


ASIAN PEOPLE'S THEATER WORKSHOP (APTW) FOR COMMUNITY CULTURAL ACTION

Running from seven to 15 days, the APTW is an intensive course on PETA's integrated theater arts method which focuses on improvisational techniques combined with the integrated theater arts processes such as creative drama, visual arts, body movement and dance, sound and music, creative writing and group dynamics.

The course is open to all theater practitioners, development workers, educators and individuals interested in using theater processes to draw out the creative power in themselves and in the people they work with. Through group processes and hands-on theater experiences, the participants will be able to create small improvisational pieces using social realities and community and cultural exposures as bases of creation. These pieces form part of the participants' showcase within the workshop period. The course also includes sharing of PETA's work and experiences on theater for development and advocacy as well as in theater in education.

The PETA SPT initiated this course in 1997. A group of Japanese artists and educators requested PETA to organize and facilitate a training program in Manila for their group of artists, journalists, teachers, NGO workers, local government workers, human rights advocates and students using PETA's integrated theater arts process. The training lasted for two weeks and it started an annual training program open to other nationalities. It addressed not only the participants' developmental needs but also served as an alternative cultural tourism since an essential component of the course is the community and cultural exposure and interaction. The participants were able to use and apply the methods and processes in their respective countries using themes of peace, family communication, gender and sexuality, community development, environmental preservation and cultural heritage, among others.

After more than a decade, PETA has enriched the course with new and relevant training content based on PETA's best work practices in its community, education, developmental and partnership programs in the Philippines and around the world.


For more information, contact us through:

Phone: 632.725.6244
Fax: 632.722.6911 or 632.410.0821

email: mpr@petatheater.com or peta@petatheater.com

CCP Calendar of Events - August 2011

CCP ACCEPTS WORKS FOR ANI 37

CCP Literary Arts Division is now accepting poetry, short fiction and essays in Filipino, English and other Philippine languages (with translation in Filipino or English) tackling the topic “What is the character, personality or culture of the Filipino that needs to be cleansed or renewed for social transformation and growth?” “Cleansing and Renewal” is the theme of ANI 37, the 2012 edition of the Cultural Center of the Philippines’ literary yearbook.

Submissions must be typewritten or computer-encoded in Arial 12 points, double-spaced on short bond paper (8.5” x 11”), accompanied by a sheet containing the author’s five-sentence biographical note, contact numbers, email address, and tax identification number (TIN) for payment purposes.

The contribution must be addressed to The Editor, ANI 37, CCP Literary Arts Division, and submitted as an MS Word attachment in rich text format (rtf) to anijournal@yahoo.com.

Deadline for submission is June 30, 2012.

For further information, contact Mr. Hermie Beltran, CCP Literary Arts Division at telephone number 832-1125 local 1706 or 1707.

August 16, 2011

PETA Theater Appreciation Program

SUPPORT PETA

Here's how you can help:

PETA THEATER APPRECIATION PROGRAM (PETA-TAP)

Public school children can hardly afford to come to watch PETA plays and yet this can be a magical and powerful experience that makes Philippine culture, history and identity come alive for them. PETA plays are meant to enhance classroom learning and to shape values among the young.

PETA wants to find donors to allow learning through theater to be more accessible to these children and youth. After all, exposure to the arts and theater in particular increases their learning capacity and motivates them to learn more in school.

Help PETA bring in more public school students to the Theater Center. Donate to the PETA Theater Appreciation Program (PETA-TAP)

It only takes P500 per child to give them this potentially life-changing experience.

WORKSHOP SCHOLARSHIP

PETA pursues its education work through workshops conducted for different age levels and sectors.

Developed through the years, PETA's workshop is based on the principle that every person regardless of economic status or education level has a potential mine of talent uniquely his or her own. This workshop curriculum is an effective instrument for bringing these talents to the fore. .

PETA's curriculum is not just about theatre but it also uses the multi-intelligence approach to foster learning on many different levels, a method PETA has evolved since the late 1960's.

It is this powerful pedagogy that PETA intends to share especially with marginalized groups through scholarships.

Although the workshop is taught in the language of the arts the content is really about life skills with a strong focus on creativity and resourcefulness. After all, a creative person can find always find solutions to real-life problems.

PETA gives workshops in Children's Theater, Teen Theater, Theater Arts (for Adults), Creative Pedagogy to help teachers enhance classroom teaching.

Fund a scholar for P10,000 for a workshop using the powerful Integrated Theater Arts approach.

TECHNICAL EQUIPMENT FUND

When PETA moved into its new home, the Theater Center, it brought over vintage theater equipment from its original home, the Rajah Sulayman Theater in Fort Santiago.

The company has gradually embarked on an acquisition program. However the wish list is long. It is urgent that these equipment be upgraded since PETA takes its plays on mobile tours around Metro Manila and the provinces where PETA performs for audiences that are over a thousand at a time.

PETA needs state of the art equipment which is portable enough and can withstand the wear and tear of bringing PETA's performances to various public spaces throughout the country. Having modern equipment will enable the company to continue to serve its publics in an excellent and professional manner.

PETA's technical equipment wish list can be made available to those interested to help. Donations may be made in terms of monetary contributions or in kind.

DONATE NOW

By credit card

By cash or cheque Deposit cash and cheque donations at any branches of the following:

Banco De Oro E. Rodriguez Branch
Account Name : Philippine Educational Theater Association Inc.
Savings Account : 2200-98271
Checking Account : 2280-16176
Dollar Savings Account : 2200-97208

For more information please contact:

CB Garrucho
Gay Balignasay
410.0822 / 725.6244
petafr@petatheater.com

August 15, 2011

CCP Calendar of Events

PRESS STATEMENT BY MR. CHRIS B. MILLADO, VICE PRESIDENT AND ARTISTIC DIRECTOR, CULTURAL CENTER OF THE PHILIPPINES

12 August 2011

FIRST ALLOW ME TO THANK EVERYONE FOR COMING.

IN BEHALF OF THE OFFICERS AND STAFF OF THE CULTURAL CENTER OF THE PHILIPPINES I WOULD LIKE TO TAKE THIS OPPORTUNITY TO SET THE RECORD STRAIGHT ON SOME ISSUES THAT MAY HAVE BEEN MISUNDERSTOOD OR MISINTERPRETED.

FIRSTLY, LET ME RESTATE IN MY OWN WORDS THE VISION AND MISSION OF THE CULTURAL CENTER OF THE PHILIPPINES:

THE VISION OF THE CULTURAL CENTER OF THE PHILIPPINES IS TO MAKE ART MATTER TO THE LIFE OF EVERY FILIPINO. AND WE AIM TO DO THIS BY CREATING, PRODUCING, AND PRESENTING CULTURAL EXPERIENCES FROM THE PHILIPPINES AND AROUND THE WORLD – ONSITE, OFFSITE AND ONLINE. WE ALSO AIM TO SHOWCASE THE BEST EXAMPLES OF PHILIPPINE AESTHETICS AND EDUCATE THE FUTURE ARTISTS AND AUDIENCES FOR ARTS AND CULTURE.

I JOINED THE CULTURAL CENTER OF THE PHILIPPINES AS AN ARTIST AND MANAGER IN 1986 RIGHT AFTER THE PEOPLE POWER REVOLUTION. AND I AM PROUD TO HAVE BEEN NURTURED IN AN ATMOSPHERE THAT ENCOURAGED THE BLOSSOMING OF ARTISTIC EXPRESSION. I AM DOUBLY PROUD TO REPRESENT MANY TALENTED, EXCELLENT, COMMITTED (AND MAY I ADD - UNDERPAID AND OVERWORKED) ARTISTS AND ARTIST MANAGERS IN CCP .

EVEN AMONG US IN THE ART WORLD, MANY WERE OFFENDED WHEN WE FIRST VIEWED POLITEISMO. BUT IT SERVED AS AN AWAKENING. IT ROUSED OUR SENSES, CHALLENGED US TO TAKE A DEEPER LOOK, WOKE US UP TO A LESS INNOCENT WORLD: WHAT IS THE ARTIST TRYING TO SAY? WHY AM I REACTING THIS WAY? SHOULD I BE ANGRY? OR SHOULD I BE MORE INTROSPECTIVE? SHOULD I JUDGE THE ART WORK FOR WHAT I SEE ON THE SURFACE OR SHOULD I TRY TO UNDERSTAND WHAT IT IS DOING TO AFFECT ME? THIS IS THE EXPERIENCE OF ART.

A LOT OF US AGREE THAT THE CONSEQUENCES OF KULO COULD HAVE BEEN AVOIDED AND INDEED, THIS HAS SERVED TO GIVE US A LESSON THAT WILL GUIDE US IN THE FUTURE.


BUT WE CANNOT IGNORE THE IMPORTANT FACT THAT IT HAS CREATED OPPORTUNITY AND CHALLENGE TO ENGAGE OTHERS, ESPECIALLY AT THIS TIME OF CHANGE.

YOUNG OR OLD, WE NEED OPENNESS AND DIALOGUE THAT WOULD WAKE US FROM OUR COMFORT ZONES. UNDERSTANDING AND CALM, RATHER THAN JUDGEMENT, VIOLENCE OR THREATS.

WE UNDERSTAND THE DISAPPOINTMENT AND FRUSTRATION OF OUR ARTISTS WHEN THEY LEARNED ABOUT THE CLOSURE OF THE MAIN GALLERY. TO THEM PLEASE BELIEVE US WHEN WE SAY WE WILL REMAIN COMMITTED TO THE CAUSE OF ARTISTIC FREEDOM.

IN VIEW OF THE EXTREME REACTION WE RECEIVED AND CONTINUE TO RECEIVE, THE MENACING THREATS THE ARTIST AND SOME MEMBERS OF THE BOARD HAVE BEEN RECEIVING, IT HAD BEEN NECESSARY TO TAKE ACTION TO CALM TEMPERAMENTS.

WE WILL BE HOLDING DIALOGUES WITH RELEVANT SECTORS THAT WILL RESULT IN DRAWING UP REASONABLE GUIDELINES THAT WILL (A) ENSURE AN ATMOSPHERE CONDUCIVE TO ARTISTIC FRUITION (B) ENSURE RECOGNITION OF SENSITIVITIES, (C ) ENCOURAGE ABIDING TOLERANCE.

IT IS UNFORTUNATE THAT THE BIG PICTURE HAS BEEN LOST IN THE FURY AND CONFUSION OF RECENT DAYS. IN ALL MY YEARS WORKING WITH THE CCP, I AM VERY PROUD TO SAY THAT IT IS ONE GOVERNMENT AGENCY THAT HAD FOUGHT HARD AND STILL CONTINUES TO FIGHT HARD TO KEEP ITSELF FREE FROM INFLUENCES OR PRESSURES THAT THREATEN ARTISTIC EXPRESSION.

THIS OF COURSE HAD MADE US VERY VULNERABLE. BECAUSE OF THIS, WE WOULD LIKE TO DO OUR PART IN CREATING BETTER UNDERSTANDING BY HOLDING A SERIES OF PUBLIC FORUMS ON ART AND ARTISTIC FREEDOM, ART AND SOCIAL RESPONSIBILITY, AND ART AND THE MEDIA.

I WOULD LIKE TO INVITE ALL THE MEMBERS OF THE MEDIA TO A TOUR OF THE BACKSPACES OF THE CULTURAL CENTER SO YOU CAN WITNESS THE MANY ARTISTS WHO ARE LOVINGLY AND PASSIONATELY CRAFTING THEIR NEXT GIFTS FOR THE PUBLIC. SO YOU CAN SEE THE FLOOR BOARDS, THE WALLS, THE CORRIDORS WHERE THIS EXCITING PROCESS CALLED ART HAPPENS; FEEL THE ENERGY OF THIS WONDERFUL EXCHANGE AND ENGAGEMENT OF CREATIVE MINDS; SO THAT WE MAY ALL BETTER APPRECIATE WHERE ART COMES FROM, HOW ART IS CREATED AND WHY WE ALL NEED TO STAUNCHLY UPHOLD THIS SPACE CALLED ARTISTIC FREEDOM.

IN THE 1950S THERE WAS A MOVE TO BAN THE TEACHING OF JOSE RIZAL’S NOVELS ‘NOLI ME TANGERE’ AND ‘EL FILIBUSTERISMO’, THE TRIUMPH OF KNOWLEDGE OVER UNENLIGHTENMENT HAS MADE IT POSSIBLE FOR US TODAY TO RELISH THIS ARTISTIC WORK AS ONE OF THE NATION’S GREAT CULTURAL TREASURES. THE MUSICAL VERSION OF NOLI ME TANGERE IS NOW PLAYING AT THE LITTLE THEATER. A WRITER AND A CHOREOGRAPHER ENVISIONED A NATURAL CATASTROPHE OF LANDSLIDES AND FLOODS BECAUSE OF MAN’S DISPRESPECT OF THE ENVIRONMENT AND WAY BEFORE ONDOY AND THE RECENT NATURAL CALAMITIES – THEY CREATED THE DANCE PIECE “ENCANTADA” WHICH IS OPENING THIS WEEK AT THE CCP MAIN THEATER. WE CONTINUE TO CREATE AND TO OFFER GIFTS TO OUR PUBLIC INSPITE OF THE DIFFICULTIES WE FACE IN FUNDING.

WE NEED YOU TO CHAMPION THE ARTS AND NOT DENIGRATE IT. WE NEED YOU TO SUPPORT THE ARTS INSTEAD OF THREATENING TO DEFUND IT. THE UPHOLDING OF ARTISTIC FREEDOM SHOULD BE EVERYONE’S STEADFAST RESPONSIBILITY – FOR IT IS ONLY IN THIS FREEDOM THAT WE CAN ALL LIVE SIDE BY SIDE IN ABIDING TOLERANCE AND SOULFUL CREATIVITY.

CCP Calendar of Events

August 9, 2011
PRESS STATEMENT OF THE CULTURAL CENTER OF THE PHILIPPINES ON THE KULO EXHIBIT


Due to numerous emails, text messages and other letters sent to various offficers of the CCP, and to the artists themselves, with an increasing number of threats to persons and property, the members of the Board of the Cultural Center of the Philippines have decided to close down the Main Gallery where the Kulo Exhibit is on display. This decision was made amidst controversy and deliberation by the Board as to what steps are necessary to avoid future similar incidents.

In the light of the foregoing developments and recent experience, the CCP management has reviewed its policies and are now taking steps to enable its officers and staff to make more informed decisions in the future.

The CCP shall continue to act as catalyst for free expression of Filipino artists. It thanks all those who have, in one way or another, contributed to the dialogue about art, and the different ways it affects society today.




Backgrounder:

KULO' opened on June 17 at the CCP Main Gallery, a compilation of work by 32 artists, meant to be part of the Center's celebration of the 150th anniversary of Jose Rizal. Because all the participating artists had a common educational background, all having studied at the UST, they felt it fitting that the theme of Jose Rizal also reflect the heritage and culture represented by the 400-year old university.

Each artist participated with one installation. It was curated by J. Pacena II.

In keeping with previous practice to evaluate merits of art works on the basis of established parameters, the CCP Visual Arts Division, headed by Karen Ocampo-Flores, approved the proposal to exhibit on the basis of an evaluation of their proposal as well as the background qualifications of the participating artists.

Publicity on the exhibit only happened after a major network covered it in the news. Particular focus had been put on one specific art work, "Politeismo." By Mideo Cruz. Politeismo has been exhibited since 2002 in such venues as the Ateneo de Manila, UP Vargas Musueum and Kulay Diwa Galleries.

Threats to security became most alarming on Aug. 4 when Security reported that a couple had vandalized the art works and attempted to set fire to the exhibit but had been unsuccessful. Subsequent hate mails and threats to members of the Board intensified following this incident.

Following serious discussion, the Board members agreed on the common objective, to nurture freedom of artistic expression, while recognizing the responsibilities that go with it.

PETA Creativity Hub

CREATIVITY HUB

The PETA School of People's Theater offers five to 12-session courses in the evenings or the weekends towards the semestral break in October till November at the PETA Theater Center. Courses are open to students, adults, and professionals alike.

For more information, contact us through:

Phone: 632.725.6244
Fax: 632.722.6911 or 632.410.0821

email: mpr@petatheater.com or peta@petatheater.com

August 14, 2011

PETA Outreach

OUTREACH

The PETA School of People's Theater conducts outreach and special workshops all year-round for theater and non-theater enthusiasts, children, teachers, school trainers and workers, NGOs, LGUs, and corporations. These workshops, anchored on PETA's tried and tested pedagogy, may be customized according to the needs of your school or institution and may be conducted at your choice of venue or the classrooms of the PETA Theater Center.



COURSES OFFERED:

Basic Integrated Theater Arts Workshop (BITAW)
Repertory Theater Guidance (RTG)
Other courses customized according to the needs of the participants or the requesting entity

Courses may be viewed here.


For more information, contact us through:

Phone: 632.725.6244
Fax: 632.722.6911 or 632.410.0821

email: mpr@petatheater.com or peta@petatheater.com

August 13, 2011

The PETA-Mekong Partnership Project

Background

In 2004, the Philippine Educational Theater Association (PETA) kicked off its Southeast Asia Regional Program through its Mekong Partnership Program. Its main aim is to mobilize, build partnership and support for the performing arts community in the Greater Mekong Sub-Region which is composed of Cambodia, Vietnam, Lao PDR, Thailand, Myanmar (Burma), and China's Yunnan Province—to do advocacy work on gender, sexuality and HIV/AIDS through theater and performing arts.

For five years, the Program operated with support from The Rockefeller Foundation Southeast Asia Regional Office. It has also forged activity-based partnerships with UNESCO Bangkok, Heinrich Boell Foundation, Save the Children, and Japan Foundation.

PETA's years of engagement in Mekong resulted to pioneering works and benchmark projects that facilitated cross-border exchange, capacity building, and solid partnerships among the Mekong performing arts communities to harness arts and creativity to effect change. It explored various ways of using the creative space for learning, artistic expression, social advocacy, and engaging the public to tackle social issues confronting the region.

Building from the successful partnership it has forged with several groups and institutions, the PETA Mekong Partnership Program expands and extends its regional agenda by forging new partnership with Save the Children UK's Cross Border Project in the GMS. In the next years, PETA hopes to contribute to this larger initiative for children's protection and child rights advocacy in the Mekong sub-region by continuously building and engaging communities of committed and progressive artist-advocates.

With four decades of experience in making theater for the people, we seek to broaden our reach to a wider margin of the global society. We want to assert our commitment to social development and empowering people through the arts by developing and strengthening our network with the "creative communities" who share the same vision. Through the Mekong Partnership Program, PETA affirms its commitment to theater as an alternative to people's education and development and reasserting a pride in cultural diversity in the face of the various threats to human security.

Five Year Goals: (2007-2012)

Theater for Cultural Development/Theater for Artistic Excellence
strengthened partnership and alliance with Southeast Asian performing troupes through artistic collaboration, regional capability building, and cultural exchange;
Theater for Development

enhanced participation of socially committed artists within Southeast Asia Region in advocacy work and in advancing peoples theater, culture, and development
enhanced peoples participation in issue advocacy and socio-cultural development work through theater and performing arts;
established community and/or a loose network of committed and progressive artists-advocates for socio-cultural development work;
enhanced theory and practice on theater for development work through research, publications, performances, education, partnership and institutional building
enhanced artistic and pedagogical skills of artist-teachers-advocates in doing theater for development work

Specific Program Thrust (2009-2011)

Mobilizing the Performing Arts Communities in Mekong for Child Protection Work and Children's Rights Advocacy through Theater and Performing Arts

Specific Objectives:

Build partnership and support to performing arts groups in Mekong for child protection work and children's rights advocacy;
Strengthen the capacity of children's rights advocates and other stakeholders in the Region on advocacy and education work;
Strengthen creativity, self-confidence, and leadership of the children and youth leaders in Mekong;
Foster more effective partnership of the project with media and the creative arts community in the region to engage the public, intensify public debate, and promote awareness building child exploitations and abuse

Strategies & Project Components

A. Regional Education and Capacity Building

Regional Youth Empowerment and Leadership Development Training Through Integrated Theater Arts (a 10-day Leadership training course for children and young people from Mekong)
Regional Training on Child Rights, Child Protection and Child Participation Using PETA's Creative Pedagogy (a 10-day Leadership and skills building course on building child protection systems and advocacy for children's rights and child participation)
Mekong Performing Arts Laboratory (An annual 3-week intensive training course on theater for advocacy)

B. Partnership & Support Program Through Arts & Media

Mekong Creative Communities: Arts for Advocacy Annual Fellowship A partnership and support program through theater and performing arts. Project assistance is given to the performing arts community (individual or group) to do advocacy performances & art projects that tackle issues on child protection and children's rights.

C. Research and Documentation

Research and publication of various creative initiatives in addressing development issues in Mekong with special focus on gender and children's rights through theater and performing arts.

The Program currently operates with the support of Save the Children UK's Cross Border Project through the European Union with additional contributions from Terre des Hommes-Germany.

You can contact us at:

PETA Mekong Partnership Project
350/2061 Ratchada-Chuanchom Mansion
Soi Ladphao 23, Ladphao Road
Chatuchak, Bangkok 10900 THAILAND
Telephone: (66-2) 909.2649 or 939.0200 to 4 local 2061
Tel/Fax: (66-2) 930.7851
e-mail: peta_mekong@yahoo.com ; peta@truemail.co.th

August 12, 2011

PETA - The Children's Theater Program

PETA's commitment to Filipino Children has grown and devolved in the past 33 years. It is an expression of the organization’s founding principle that believes that children and the young people are the future of the country and that they deserve the best possible nurturing and support society, culture, heritage, art and theater can offer to enable them to tap their innate potentials. In the early years of PETA, the functional term was "Reaching Out to Children" through performance and workshops held every Philippine summer.


In the 80s, PETA instituted the Children's Theater Program (CTP) as a key program area. At the time, PETA perceived that it is essential to reach children in a more comprehensive manner. Performance, training and education and the expertise of its members are combined in partnership with NGO's (non-government organizations) and community-based organizations to deliver programs and services that are suited for children with very specific problems, needs and capabilities. And for the last 10 years (since 1990), guided by the principles of Children’s Rights, Empowerment and Child Participation, the PETA-CTP has been focusing its services directly to children to enable them to express themselves, their own thoughts, feelings and opinions through the language of creative arts and theater.


Through the years, the program has delivered effective projects and activities directly to and involving children all over the country most especially to those in impoverished, vulnerable and difficult situations. CTP has proven that integrating theater arts and creative processes in advocacy, education, partnership and development work creates a potent combination that effectively addresses vital and urgent issues facing Filipino children.

August 11, 2011

PETA - The School of People's Theater

Introduction

The School of People's Theater is the training arm of PETA. This unit is responsible for initiating and coordinating, systematizing and institutionalizing PETA's various efforts in developing people's theater curricula. The curricula is meant to support and enhance cultural, educational, and development initiatives of the various sectors and communities in the archipelago. The program of the SPT ranges from faculty and curriculum development, annual PETA summer workshop, outreach workshops, and the partnership program.



Theater For Empowerment

Forty years hence, PETA remains committed to its educational mission, which has kept the company grounded and connected to the lives of people. The continuing journey of PETA will be charted by its artist-teachers’ focus, commitment and passion to improve even further the use of theater for empowerment through education. The PETA pedagogy is sure to evolve and be enriched by PETA's creative partnership with people.

August 10, 2011

PETA - Capability Building Program

Basic Integrated Theater Arts Workshop for Young People

Designed to provide young members of drama clubs with basic knowledge, skills and attitude on theater, the workshop is offered to partner theater organizations. Basic theater workshops are facilitated by young artist-teachers.
MTTL ensures youth empowerment through such partnership. Through the years, it has proven the effectiveness of Youth-to-Youth approach, whereby young people teach other young people. The youth participants are able to communicate more effectively using their own sub-cultural lingo and feel more comfortable among peers and equals.


Specialized Theater Workshop

Short courses on play writing, Dance Theater, visual arts, basic acting, technical theater, stage management and music scoring are given to partner organizations as preparation for the youth theater festival. Specialized workshops are facilitated by senior PETA artists and members.


Repertory Theater Guidance

Aimed to raise the level of aesthetic of youth groups participating in the youth theater festival, the RTG sessions are conducted hand-in-hand by MTTL Core Group members and PETA junior directors. Partner organizations are assisted during the production phase -- from mounting, critiquing, technical rehearsal to actual performance and evaluation.


Theater-in-Education Class

One of the essential activities of MTTL’s educational program for the secondary school is the Theater-in-Education class for school-based drama groups. It is a drama course that contains core values of PETA’s educational theater, and uses integrated theater arts approach and uses participants’ experiences/history/reflections on social issues as sources for materials and stories. The course is composed by three areas, namely; (1) Basic Integrated Theater Arts Concepts; (2) History of Philippine Theater, and (3) Production Work/Exposures. PETA artists work hand-in-hand with drama group advisers to implement the course from July to March. Each session runs for 2 hours per week for the entire school year.



Eight secondary schools participated in the pilot implementation of the program from school year 2004 – 2006: Ramon Magsaysay High School-Manila, Mariano Marcos Memorial High School, Salvador Araneta Memorial Institute, Lagro High School, Jose Abad Santos High School, Stella Maris College, Siena College, and St. Joseph Catholic School.


Continuing Education Program for Teachers and Adult Leaders

Part of PETA’s commitment in raising the quality of teacher’s education, various training and seminars are offered to partner teachers and drama club advisers. Basic and advanced courses include creative pedagogy, Asian and Philippine theater, Theater Arts, Dance Theater, basic acting and directing, and organizational development sessions.

August 9, 2011

PETA - Festivals, Conferences and Assembly

Annual convention and Assembly

The annual gathering of member organizations based in Metro Manila and neighboring provinces participated by students and teachers/adult leaders. It aims to consolidate and consult the network of schools and community-based theater groups on MTTL program for the year.


Dula-daluyan Festival

Recognizing the power of theater and the arts as catalysts in tapping and developing the enormous potentials of the Filipino children and youth, a three-day celebration of art and culture is organized by MTTL through theater festival. Dubbed as Dula-daluyan, the festival features the best works and performances created by young artists from the school and communities. It provides the young people venue to discuss issues and concerns affecting the youth, using popular theater and art forms. Dula-daluyan highlights interaction and artistic creations through performances, forum and conference, workshops, art exhibits and music concert for, by and of young people.


TIE Conference and Advocacy

The efforts of transforming the teaching and learning experience inside the classroom into a creative, child-friendly, and culture-based situation require a sustained partnership with key groups and institutions. One of the recent initiatives of MTTL towards this endeavor was the Theater-in-Education conference in March 2007. It was organized to advocate for and sharpen the understanding of the role of arts and culture in promoting a transformative education in the country. The conference brought together various stakeholders of education: school teachers, academe, arts practitioners, cultural workers and the Department of Education. Public and private school teachers from Manila, Quezon City, Pasay, Parañaque, Caloocan, Malabon, Infanta and Laguna participated in the conference. Resource speakers from DepEd, Philippine Normal University, De La Salle University, Cinema Evaluation Board and Task Force Philippine Education Culture Plan offered insights, reflections, context and action plans for the plenary.

August 8, 2011

CCP Calendar of Events - August 2011


REYNALDO REYES PLAYS 2ND ALL-BEETHOVEN SONATAS CONCERT ON AUGUST 8

INTERNATIONALLY renowned Filipino pianist and pedagogue Reynaldo Reyes performs his second Beethoven sonata concert at the Cultural Center of the Philippines’ Tanghalang Aurelio Tolentino (CCP Little Theater) on August 8 at 7:30 pm, instead of July 27 as originally scheduled. The postponement was made in view of inclement weather brought on by Typhoon Juaning.

Program includes Sonata No. 9 in E Major, opus 14, no.1 (1798-99), Sonata No. 14 in C# minor opus 27, no.2, (Moonlight) (1801), Sonata No. 10 in G major opus 14 no.2 (1798-99), and Sonata No. 2 in A Major, opus 2 no.2 (1795).

“The structural devices were stunningly reflected by Reyes who exhibited utmost skill and vitality, with brilliant bravura clearly pointing up Beethoven’s hitherto unprecedented technique,” said music critic Rosalinda Orosa on his earlier Beethoven concert in June this year. Further, “Reyes, simple and unassuming in demeanor, played both the grandiloquent and serene sequences with elegance, refinement and restraint - these ensuing from a master’s artistic maturity and seasoned sophistication."

Based in Maryland, USA, Reyes is a Professor in piano at Towson University. He studied at the University of Santo Tomas’ Conservatory of Music while attending High School at the same time, and graduated with a Bachelor’s Degree in Music at age 17. He then received a French Government Scholarship to study at the Conservatoire Nationale Superieur de Musique de Paris where he obtained the coveted Premier Prix in Piano. He subsequently received a Philippine Government Scholarship to study at the Peabody Institute of Johns Hopkins University in Baltimore where he obtained his Masters Degree and the Artist Diploma. He has concertized in South America, Central America, Western and Eastern Europe, the Far East and North America.

As the most awarded pianist of the Philippines, Reyes has been a Ten Outstanding Young Men awardee, Ten Outstanding Filipino Overseas awardee by President Marcos, One of the Twenty Outstanding Filipinos of Canada and the US by Fil-American Image Magazine in Washington DC and the Golden Cross Award given by the University of Santo Tomas, the highest award that the University bestows on its alumni. He is the only Filipino musician ever awarded 3 times Musician of the Year by the University of the Philippines. He was a winner in the International Piano competitions in Italy, France and Brazil. For 20 years, he was the official accompanist of the Metropolitan Opera Company Regional Auditions in Washington DC. He has done outreach programs in the Far East, particularly in the Philippines, bringing classical music to areas where people and mostly students have never heard of classical concerts.

For ticket inquiries, contact the CCP Box Office at 832-3704 or Ticketworld at 891-9999; or call the CCP Music Division at 832-1125 loc. 1604-1605

PETA Programs - MTTL

The PETA - Metropolitan Teen Theater League


Introduction

The Metropolitan Teen Theatre League (MTTL) is the youth theater arm of the Philippine Educational Theater Association (PETA). It was founded by Cecile Guidote-Alvarez in 1968 and originally conceived as an alliance of school drama clubs to allow the youth to engage in the development of Philippine culture. Since then, it has become a seedbed of outstanding theater artists, cultural workers, and child educators.



The premise for its formation was that an essential component in the advancement of a National Theater Movement lies within the confines of the schools and communities. Thus, the MTTL was envisioned as an umbrella organization of community and school-based youth theater groups.



Today, the MTTL nurtures various youth groups under its thrusts of Theater-in-Education and Youth Participation. The focus of PETA's TIE is the use of theater as a tool for education and a powerful and effective medium of instruction. Its EDUCATION programs focus on enhancing the skills of a core group of youth artist-teachers who in turn train PARTNER groups in Metro Manila and nearby provinces. Training of partner groups includes capability building of young people, teachers and adult leaders. The annual Young People's Theater Festival and Youth Art Camp provide the students and teachers/adult leaders opportunities to explore and showcase their skills and crafts in public. For PERFORMANCE, the core youth group has developed plays tackling different issues of young people ∼ exploring innovative and popular art forms as vehicle for youth expression.



MTTL is determined to advocate the global call for Youth Participation and Empowerment as it continues to harness the power of theater and the arts as catalysts in tapping and developing the enormous potentials of the Filipino youth to be the future leaders of our society.

August 7, 2011

PETA Programs - Kalinangan Ensemble

The Repertory Arm of PETA

At the helm of the performing arts program is the Kalinangan Ensemble (KE), the repertory arm of PETA. The artistic direction of KE is based on the essence of theater to communicate, empower and liberate both the artist and the audience. KE's work represents a consistent stream of artistic styles, genres, and disciplines that allow artists freedom, creativity, critical thought and expression. KE continuously strives to enrich Philippine aesthetics by rooting itself in local and traditional culture as well as through its openness to various creative forces from the international community. As one of the foremost Filipino theater companies, KE is at the cutting edge of the Philippine theater movement with its fearless delivery of truth through a palette of theatrical forms. For more than four decades, KE has trailblazed paths for others to emulate. The company is known for the continued use and assertion of the national language; the exploration of local,traditional, and experimental forms; the fearless exposition of truth during times of repression and censorship; and the defense of the most voiceless and vulnerable members of society express their life stories on stage.



KE's main function is to develop Philippine Theater through research, training, experimentation and production.

Performances at the Theater Center
Mobile productions touring schools and communities
Special commisioned work for local, national and international performances
Company training, laboratory and experimental theater

August 6, 2011

PETA Programs - Art Zone Projects

ARTS Zone Project
(Advocate Right To Safety Zone for Children)

ARTS Zone ProjectARTS Zone Project (Advocate Right To Safety Zone for Children) is an educational theater campaign on children's right to safety and protection from any form of violence and abuse. It aspires to ensure a child's positive growth towards reaching his or her full potential. By creatively raising the Filipino families and communities' awareness on children's rights and its related issues, the project hopes to build a nurturing environment in the homes, schools and communities.

Creative seminar-trainings, theater workshops and consultations with adults as "duty-bearers" and children as "rights claimers" shall be conducted and advocacy performances toured in major cities of Metro Manila to promote and encourage active and critical participation in child rearing and development.

Adults and children shall be educated on human rights and justice, and they will be assisted in overcoming their experiences of violence. Through PETA's effective use of theater work - play-acting/body work, role play and performances through interactive theater, it becomes possible for adults and children to share their thoughts and views on their complementary roles in the growth of their families and communities, promoting awareness about alternatives of conflict resolution and offering possibilities to achieve this end.

A play shall be produced and toured; seminar-trainings and workshops shall be implemented; local campaigns and networks against violence shall be established in cooperation with local schools; publications, conferences, round table discussions and a media campaign shall be tapped to inform the public as well as to render advocacy work.

Project Goal

The Project aims to inform and educate both adults and children of holistic understanding of children's rights. Special focus shall be placed on adults in educating them on effective parenting, non-violent child rearing approaches towards enabling them to protect their children from any form of violence and develop a nurturing environment.

Project Objectives

Explain and promote holistic understanding of children's rights, focusing on the importance of their right to safety and protection from any form of violence
Discuss the different forms of discipline and punishment to children, specifically in the Philippine context, and promote the use of effective, non-violent child rearing approaches
Explain the effects of any form of violence to child rearing and development, with focus on its use to discipline and punish children at home and in school settings
Increase the awareness of parents and teachers, as well as the participation of children, in developing a safe, protective and nurturing environment

Areas/Location

Five (5) major cities in Metro Manila are initially identified to be the beneficiaries for the Project: Caloocan, Makati, Manila, Pasig and Quezon City. These are the largest, in terms of population and community influence and therefore would be most effective as recipients.

Partner Groups

To be able to effectively carry out the campaign, this Project hopes to enjoin several institutions and socio-civic organizations that may have direct or indirect dealings with children. These are public schools, local government units such as Council for Welfare of Children (CWC) and other community level operating groups such as Barangay Council for the Protection of Children (BCPC), Barangay Youth Council or Sangguniang Kabataan (SK), Parent-Teacher-Community Associations (PTCAs), and other grass root organizations in the communities.

Target Audience
The performances and workshops are directed toward parents, teachers, local government authorities/local officials (e.g. Department of Education), community and youth leaders, and children/students (specifically 9-14 years old).

ARTS Zone ProjectProject Activities

Performances/Tours
Written by Liza Magtoto, Lyrics, Music Composition and Arrangement by Vincent de Jesus and directed by Mae Quesada-Medina, Rated: PG is a whimsical performance on parenting. It will be toured around the five (5) areas/locations of the Project.

Workshops
Workshops for adults through integrated theater arts approach and workshops for children on visual arts and creative writing shall be offered to participating groups, schools and organizations.

Partnerships and Local Action Initiatives
Partners/networks shall be encouraged to create their own small action plan in support to the advocacy/campaign. Small grants shall be provided to selected action plans/campaigns.

PG KomiksConferences/Round Table Discussions
City-wide and small group discussions on the essentials of the campaign shall be conducted to instigate possibilities and options in enhancing the activities of the Project.

Publications
PG Komiks for adult readers and Junior Komiks for children shall be distributed to target beneficiaries of of the Project.

The results of the workshops and conferences/round table discussions will also be published to share the outputs and experiences to those who have not been reached by the Project's capacities.

For more information about the ARTS Zone Project and its activities:

Email: arts_zone@petatheater.com or peta_arts_zone@yahoo.com

Website: www.artszoneproject.net

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