W R R

W
R W
W

W
I

W
WFilipino Art Deco W
W
R
Group 2
J

T
 W
FILIPINO ART DECO
Late 1920s and 1930s - The dominance of NEOCLASSICISM was I
challenged by the “second generation” of Filipino architects who returned
from overseas studies and European trips.
R Second Generation of Filipino
architects
Andres: Luna de San Pedro

J Fernando Ocampo

Pablo Antonio

L
Juan F. Nakpil

T
c
 Art Deco
-Rectilinear-based design I
-It represented a commitment to technological progress and was influenced by the
Bauhaus movement which combined crafts and fine arts.
-radically simplified forms, rationality and functionality, and reconciliation of mass
R production with the individual artistic spirit.
-The use of geometric forms impacted architecture as surface ornament and decorative
forms and motifs.

L
Metropolitan Theatre (1931) Capitol Theatre (1934)

T
FXVAFD
FXVAFD
 CONDUCTING AND PERFORMING
TRADITIONS
Kundiman - The best-loved form in music of the period. I
Nicanor Abelardo and Francisco Santiago, both schooled in Neoclassical ideas
Francisco Santiago
-”Anak Dalita” (1917)
R Nicanor Abelardo
-”Nasaan Ka Irog?”
(1924)
J -”Mutya ng Pasig” (1926)
One of the most recognizable songs from this period is “Bayan Ko” (1929), with lyrics by Jose Corazon de
Jesus and music by Constancio de Guzman.

American period - The advent of theatre dance with the introduction of two major dance forms of Western
L expression: classical ballet and modern ballet.
Ballet is an artistic dance form that uses a highly formalized academic dance technique combined with
music, costume, and stage scenery to convey a story or theme.

In the first two decades of the century, performances by foreign dance groups on Manila’s stages presented
T for the first time the ballet form to Philippine urban audiences.
 1920s - Beginning of teaching ballet in the country.

Luva Adameit
- The first well known instructor and a member of Anna Pavlova’s company who established the
Cosmopolitan Ballet and Dancing School in Manila in 1927.
I
- Set Philippine folk dances on pointe such as, Cariñosa and Planting Rice.

R First generation of Philippine classical ballet dancers, teachers, and choreographers

-Anita Kane
-Remedios de Oyteza
-Leonor Orosa-Goquingco
-Rosalia Merino-Santos

J -Maria Luisa “Inday” Gaston-Mañosa

-Joji Felix-Velarde
-Pacita Madrigal Gonzalez
-Elsie Uytiepo Torrejon (taught in Bacolod City in the 1950s)
-Fe Sala-Villarica (founder of Ballet Center in Cebu in 1951)
L -Esperanza Santos

1926 and 1927 - Modern Dance was first seen in Manila Grand Opera House.
Modern dance as a dance form rejected the rigid rules of classical ballet, it’s structured code of steps.
One of the important initiators of modern dance in the Philippines was Austrian Trudl Dubsky Zipper, a
T former leading dancer of Gertrud Bodenwieser’s Ensemble.
 1937 - Dubsky taught modern dance at the Academy of Music and foreign dances at the University of the Philippines, and
formed Manila Ballet Moderne.
Philippine folk dances were subjected to minimal American influence. It was in the 1920s and 1930s that research on these
dances began, carried primarily by the interest of Physical Education teacher Francisca Reyes Tolentino to preserve the
culture and traditions of the Filipinos as reflected in the diversity of folk dances, and to promote their teaching in the
Physical Education curriculum of Philippine schools. I
Several publications were released which became source materials for teaching:
Philippine Folk Dances and Games (1927) and Philippine National Dances in 1946.
The succeeding decades saw the creation of several notable folk dance groups whose artistic directors also pursued
R research in this dance form:
Barangay Dance Company (1947) founded by Paz Cielo Belmonte in the Philippine Normal College.
Bayanihan Dance Company (1957) headed by Lucrecia Reyes Urtula in the Philippine Women’s University.
Far Eastern University Folk Dance Group (1957) directed by Rosalia Merino-Santos.
Filipinescas Dance Company (1958) by Leonor Orosa-Goquingco

J Ramon Obusan Folkloric Group (1972)

The turn of the 20th century - new technologies of communication effected new ways of information dissemination. A
revolution for national independence was in place as writers and theater artists coped with the new technologies of
communication—these nationalistic tendencies were expressed in writing, music, and the new musical theater forms such
as the sarsuwela and vaudeville.
L The Seditious tagalog playwrights: Early American occupation (1972) featured dramatics from the tagalog region who
gained popularity among the Filipinos and notoriety among the Americans as propagandists of nationalism and the anti-
american movement.
Writers included:
T -Juan Abad
-Juan Matapang Cruz
-Tomas Remigio
-Severino Reyes
 The transition from oral text to written and published text was evident in the growing number of writers who made good
use of their education in developing literary and dramatic texts in their regions.

Wilhelmina Ramas (1987) notes the steady development of the Sugbuanon drama from its unwritten extempore theatricals
such as the poetic jousts balitaw and duplo.
Kolilisi - an argumentation in verse done for a wake, the novenario for a departed soul. I
Pamalaye- a marriage proposal or ritual.
Dula or performances - held in the teatro or theaters

Vicente Sotto
-publisher of Ang Suga, the first newspaper in Cebuano. R
-playwright of Gugma sa Yutang Natawhan, the first realistic Sugbuanon play.

Dulang Binisaya - vied for the audience’s attention alongside extemporaneous performances and challenged new writers

J to develop the field.

Buenaventura Rodriguez - reflective drama
Piux Kabahar - comic drama

The variations of the dulang binisaya developed through the introduction of songs, movement, moral lessons, and
purposes.
L Dulang hinonihan - drama with songs and spoken dialogue, similar to the Spanish zarzuela.
Dulang mahinuklogon - drama which conveyed thoughtful messages through a serious atmosphere and intense emotion.
Dulang kataw-anan - teemed with comedy and laughter.

FXVAFD
FXVAFD
 I
In Ilocos Region, Filonila Tupas notes the development of the written and performed text from the
extemporaneous oral forms of life rituals like folk poetic exchange called dallot to the popularization of
religious dramas such as comedias and zarzuelas introduced by Spain.
R
In Pangasinan, Alejandro J. Casambre took note of the rise of sarsuwela prominence in 1901 when Catalino
Palisoc’s Say Liman Agnaketket Pampinsiwan (The Hand that Cannot be Bitten Must First Be Kissed) was
J presented in Lingayen.

Resistance to American colonialism was evident even in cultural practice. Suppression of nationalism
resulted in the decline of sarsuwelas in the urban centers. However, the sarsuwela remained popular in the
L provinces and would soon cross over in the movies.

T
FXVAFD
FXVAFD
 Popular and Classical Expression

Early 20th century- Filipino composers continued to write music particularly Filipino
I
sarsuwelas. These works featured short overtures, light arias, and interludes based on
popular dance rhythms (balse, danza, balitaw) with simple harmonic progression.

Some of the major compositions (airs and

songs)
•Bonifacio Abdon's "Luha at Dugo,"
R
•Juan Hernandez's "Minda Mora,"
• Leon Ignacio's "Ang Kiri,
•Fulgencio Tolentino's "Walang Sugat."
End of American period- Sarsuwela began to fade away but some of its arias
survived and later evolved into kundiman or a lighter type of song for radio,
J
cinema, and phonograph
Composers that made lighter versions of the
kundiman:

L •Jose Canseco Jr.

•Francisco Santiago
•Francisco Buencamino
•Ramon Corpuz
The repertoire of Philippine music widened with the coming of jazz music, which uses syncopation, polyrhythms, and swing
notes.
T In the 1930s, the bodabil or vaudeville became popular. These were entertainment productions comprised of solo, band, or
orchestral performances, magic, circus, dance, and acrobatics.

Atang dela Rama, kundiman star, and Katy de la Cruz, jazz star, started their careers in bodabil.
 In the classical music genre, works of Filipino composers in the Western forms and idioms grew. Owing to the
establishment of professional music schools at the start of the American period- Filipino musicians received better
training and their compositions expanded to the major forms such as the concerto, symphony, opera, sonata, concerto
overture, and symphonic poem. I
Among the first group of art music
composers
•Juan S. Hernandez,
•Nicanor Abelardo,
R
•Francisco - Buencamino,
• Antonio Molina.
Their works were influenced by the
music of the European romantic J
composers such as
•Robert Schumann,
•Franz Liszt,

L •Guiseppe Verdi,
• Richard Wagner,
•Camille Saint-Saëns,
•Peter Tchaikovsky,
• Giacomo Puccini.
T
HGFHG
 Late nineteenth-century- European classical music style were the succeeding Philippine
composers namely,
•Antonino Buenaventura who wrote the tone poems "By the Hillside" (1941) and "Youth" (1946) I
•Hilarion Rubio his "Pilipinas Kong Mahal" symphonic overture
•RodolfoCornejo with the symphony "The Allies";
•Ramon Tapales who created the "Philippine Suite" (1937) and

R
"Ave Liberator," which honored the liberation of the Philippines in 1945;
•Lucino Sacramento, with his piano concertos "Maharlika" and "Ang Bituin."

American period - semi-classical genre, band music as a musical medium grew in popularity.

J
These bands played an expansive repertoire which ranged from marches, medleys of popular tunes,
folk song arrangements, patriotic pieces, concert overtures, to symphonic compositions.

L "Dalagang Bukid" was a favourite neoclassic subject of patriarchy.

T
HGFHG
 Narrating The Nation
I
Balagtasan - was a form of poetic debate in Tagalog that developed from the
traditional duplo.

The first Balagtasan was performed at the Instituto de Mujeres in Manila in 1924
to honor Francisco Balagtas.
R
Jose Corazon de Jesus - Hari ng Balagtasan
Crisotan (Pampanga) - named after Juan Crisostomo Sotto.
Bukanegan (Ilocano) - named after Pedro Bukaneg. J
Established publications:
Free Press - founded in 1907.
Lipang Kalabaw - a weekly magazine founded by
Lope K. Santos in 1907.
Liwayway Magasin
L
- Tagalog (1922)
- Bisaya (1930)
- Cebuano and Hiligaynon (1934)
T - Bannawag in Ilocano (1934)
 Narrating The Nation
I
Pre-war issue of Liwayway:
"Ako ang Daigdig" by Alejandro Abadilla

Surian ng Wikang Pambansa (SWP) - established in 1939 by

R
President Quezon to promote the development and use of a
national language.
J

T
 Komiks I
- Ganito Pala sa Maynila (1922) Written and published by Lope K. Santos and
illustrated by Fernando Armosolo. R
- Kenkoy (1929-1941) Created by Antonio Velasquez and written by
Romualdo Ramos.
- Halakhak Komiks (first published in 1946)
J

QQQQ T
 Featured artists and their works: I
• Francisco V. Conching's Bulalakaw

FFF FF
(1946-1947)
• Isaac Tolentino's Mga Hindi Sukat
Akalain (1946-1947)
R
• Jose Zabala Santos's Kani-Kaniya
nga Naman (1946-1947)
• Larry Alacala's Siopawman (1947) J
Pilipino Komiks (1947) Created by Tony Velasquez for Don Ramon Roces's Ace Publications, Inc.
Featured works by:
•Hugo Yonzon
•Damian Velasquez
•Fred Carillo
L
More komik series:
•Tagalog Klasiks (1949)
•Hiwaga Komiks (1950)
•Espesyal Komiks and Kenkoy Komiks
T
(1952)
 Group 2 I
Bagano, Nicole Jesire T.
Banico, Kert John L.
Baquillos, Elle M. R
Devilleres, Joseph
Falceso, Samuel
Maurin, Mary Ann V
Pacres, Sophia Casey J
Pepito Jelyn S
Tabada,Aniah Flicster M.
Tanglao, Chloe Ivanne
L

QQQQ T