![]() Reading against the grain of these public acts of commemoration and recognition, I provide an account from the “ground up” and consider how the public construction of national artists renders the Philippines into a unified conceptual whole. I sort through clashing characterizations of De Leon of as “crisis composer” who served the Philippines at times of foreign and domestic peril. Finally, I describe a 2012 exhibit featuring the materials of National Artist for Music Felipe De Leon Padilla Sr. This work was originally performed in 1974 with the explicit support of then-First Lady Imelda Marcos. ata slat oer sangre ag ong alg ng (ety, Psog pangs bass digg tanang fang ‘aba sang dngang, mgs Pench windows na burs st ie baton iting g mapa na Bunag na st TiS ng Som. Then, I analyze the 2010 re-performance of National Artist for Music José Maceda’s Ugnayan, a multi spatial composition for 20 radio stations. Ang mga Kahon Dulang may Isang Yugtofay Kare 80 KATHTRA ATION Pa Dey xs ga TAA wy Bene HANDY wana ARGADOR 1 EARGADOR 2 ‘ORO: Ramayan, buoy sanang mangyaring bs. Then-President Gloria Macapagal Arroyo deleted a name from the prestigious NAA nominee list and added artists with suspiciously close ties to her administration. Thank's for watching and don't forget to like, subscribe and turn on notifications NO COPYRIGHT INFRINGEMENT INTENDEDLISTEN to 'Kung Alam Mo Lang' https:/. I begin by recounting an aberration of the nominating process: the 2009 National Artist Award controversy. To describe this interaction between state and artist, I focus on the National Artist Award (NAA), the highest honor bestowed upon an artist by the Philippine government. I answer three broad questions: (1) how do patron-client and kinship systems determine the national recognition of artists in the post-colonial world? (2) how is music used in the nation-building project? and (3) how is national mythology created and contested through the commemoration of individual artists in the Philippines? I approach Philippine area studies through discussions of the past in ethnomusicology, borrowing theory from memory studies and methodology from historical anthropology while expanding both fields with a consideration of expressive culture. I am concerned with the creation of the Philippine nation by various acts of commemoration and recognition (awards, exhibits, and concerts) through which artists are valorized, immortalized and celebrated. ![]() At tandaan: ganyang pagmamahalan, Unang-unang atas ng kabanalan. This work is a critical analysis of art, memory and prestige in the late twentieth- and early twenty-first-century Philippines. Hontiveros S,J Di ba't sadyang may kapwa ang sariling Dapat hainan ng pagsisilbi At mamangha: ligaya'y dadalisay, Pag sa kapwa buhay mo ay naalay.
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