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Contemporary Art > Quiz 4 > Flashcards

Quiz 4 Flashcards

1
Q

She pioneer research on our folk dances and games.

A

Francisca Reyes - Aquino

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2
Q

She was just a student at University of the Philippines when she started doing research in villages in Central and Northern Luzon.

A

Francisca Reyes - Aquino

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3
Q

She published a book called, the pioneering “Philippine Folk Dances and Games”

A

Francisca Reyes - Aquino

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4
Q

She worked as Superintendent of Physical Education in the Bureau of Public Schools

A

Francisca Reyes - Aquino

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5
Q

Founder, Philippine Folk Dance Society

A

Francisca Reyes - Aquino

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6
Q

She married, Serafin Aquino in 1947- a secretary-treasurer of the Philippine Amateur Athletic Foundation

A

Francisca Reyes - Aquino

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7
Q

Two titles: “Folk Dance Pioneer” and “Mother of Philippine Folk Dancing”

A

Francisca Reyes - Aquino

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8
Q

Philippine Folk Dance and Games, with Petron Ramos, New York, 1927

Philippine National Dances, New York, 1946

Philippine Folk Dances, Manila, Vol. I, 1953.

Fundamental Dance Steps and Music, Manila, 1957.

A

Francisca Reyes - Aquino

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9
Q

The dance involves at least two people beating, tapping, and sliding bamboo poles on the ground and against each other in coordination with one or more dancers who step over and in between the poles in a dance.

A

TINIKLING

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10
Q

Can be seen as a mock battle between the dancing boys. The dance is intended to impress the viewers with the great skill of the dancers.

A

MAGLALATIK

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11
Q

is a very popular ballroom folk dance that had its early origin in the provinces of Leyte and Samar. “Lubi” means coconut. This dance, according to Bernardo T. Pedere, derived its name from the song the dancers and spectators customarily sing during the performance of the dance.

A

LUBI-LUBI (LOO-bee LOO-bee)

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12
Q

This ballroom polka was popular in the province of Batangas in the Spanish time. It was usually danced during town fiestas and in big social affairs.

A

POLKA SA NAYON

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13
Q

At the age of 4, she enrolled in the 1st Grade together with her Muslim classmates

A

Leonor Orosa - Goquingco

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14
Q

Her early ballet training was under Lilia Lopez, Epifania Rodriguez, and Luva Adameit.

A

Leonor Orosa - Goquingco

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15
Q

She was called “Dean of Performing Art Critics” and “Mother of Philippine Theater Dance”

A

Leonor Orosa - Goquingco

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16
Q

She is noted for her courage in breaking traditions in dance despite public indifference.

A

Leonor Orosa - Goquingco

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17
Q

In 1934, at the age of 17, she started her major dance experiments

A

Leonor Orosa - Goquingco

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18
Q

After World War II, she organized the Philippine Ballet where she brought to life all characters in Rizal ‘s novel Noli Me Tangere (Touch Me Not). In 1958 she founded the Filipinesca Dance Company.

A

Leonor Orosa - Goquingco

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19
Q

Vinta!, Morolandia (choreographed in 1938)

Festival in Maguindanao (depicting a Muslim royal wedding)

Eons Ago: The Creation (depicting Philippine legends of the creation of the world and of the first man and woman)

Filipinescas: Philippine Life, Legend, and Lore in Dance

A

Notable Works of Leonor Orosa - Goquingco

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20
Q

She is the author of a history of Philippine dance, Dances of the Emerald Isles 1980, and of the popular one-act play, Her Son, Jose Rizal.

A

Leonor Orosa - Goquingco

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21
Q

The Creation (depicting Philippine legends of the creation of the world and of the first man and woman)

A

Eons Ago:

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22
Q

Philippine Life, Legend, and Lore in Dance

A

Filipinescas

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23
Q

She was a choreographer, dance educator and researcher

A

Lucrecia Reyes - Urtula

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24
Q

She had choreographed suites of mountain dances, Spanish-influenced dances, Muslim pageants and festivals, regional variations and dances of country sides

A

Lucrecia Reyes - Urtula

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25
Q

She was the founding director of the Bayanihan Philippine National Folk Dance Company

A

Lucrecia Reyes - Urtula

26
Q

She worked to translate folk dancing into the realm of theater.

A

Lucrecia Reyes - Urtula

27
Q

created dances that not only preserved the traditional folk dances but also made it into spectacle that enhanced Philippine folk dances

A

Lucrecia Reyes - Urtula

28
Q

Singkil

Vinta

Tagabili

Pagdiwata

Salidsid

A

Notable Works of Lucrecia Reyes - Urtula

29
Q

a bayanihan signatured number based on Maranao epic poem

A

SINGKIL

30
Q

a dance honoring Filipino sailing prowess

A

VINTA

31
Q

a tale of tribal conflict

A

TAGABILI

32
Q

a tale of tribal conflict

A

TAGABILI

33
Q

a four-day harvest festival condensed into a six minute breathtaking spectacle

A

PAGDIWATA

34
Q

a four-day harvest festival condensed into a six minute breathtaking spectacle

A

PAGDIWATA

35
Q

a mountain wedding dance

A

SALIDSID

36
Q

He finished Bachelor of Science in Fisheries at UP, the taught fishery courses at Aklan Polytechnic Institute

A

Ramon Obusan

37
Q

His passion for Philippine Folk culture started when he attended an Aklanon wedding.

A

Ramon Obusan

38
Q

As Philippine advocate, his battle cry was authenticity.

A

Ramon Obusan

39
Q

He also founded Ramon Obusan Folkloric Group in 1972.

A

Ramon Obusan

40
Q

credited for his work in promoting Philippine traditional dance and cultural work.

A

Ramon Obusan

41
Q

He is also an acclaimed archivist, researcher and documentary filmmaker who focused on Philippine culture.

A

Ramon Obusan

42
Q

He became the “Father of Philippine Traditional Dance”

A

Ramon Obusan

43
Q

Vamos a Belen! Series (1998-2004) Philippine Dances Tradition

Noon Po sa Amin, tableaux of Philippine History in song, drama and dance

Obra Maestra, a collection of Ramon Obusan’s dance masterpieces

Unpublished Dances of the Philippines, Series I-IV

Water, Fire and Life, Philippine Dances and Music–A Celebration of Life

Saludo sa Sentenyal

A

Notable Works of Ramon Obusan

44
Q

She was called “Mother of Philippine Modern Dance”

A

Alice Reyes

45
Q

visionary founder of Ballet Philippines who propelled the company into a national arts institution

A

Alice Reyes

46
Q

she established regular season concerts, professionalized dance as a career, and played a major role in the phenomenal development of dance in the country.

A

Alice Reyes

47
Q

With a background in ballet, folkdancing and jazz, Reyes ventured into the challenging and exciting realm of modern dance

A

Alice Reyes

48
Q

Bungkos Suite

Cinderella

Carmen

Amada

Carmina Burana

Itim Asu

Romeo and Juliet

Tale of Manuvu

Rama Hari

A

Notable Works of Alice Reyes

49
Q

is a timeless piece to a collection of Filipino folk songs. Choreographed by Alice Reyes, National Artist for Dance, each segment of this work reflects the different moods of playfulness, love, and sense of humor of the Filipino.

A

BUNGKOS SUITE

50
Q

His story is a tale of a man who has lost everything because of his obsession over a woman, Carmen (Macel Dofitas), a gypsy.

A

CARMEN

51
Q

It highlights the power, passion and emotion of Carl Orff’s magnum opus taken from the 13th Century Goliard poetry. The dance begins with an almost stealth-like silence, gradually building up to create a breathtaking vision of bodies bursting with energy, moving with elegance and grace

A

CARMINA BURANA

52
Q

Is the last classical full length ballet to be restored before the company steps into their golden season

A

ROMEO AND JULIET

53
Q

based on the Sanskrit epic poem Ramayana. The plot and the setting do make ideal material for ballet. It has a prince and a princess, witches, a magical golden deer, and an army of monkeys who help our hero defeat the villains.

A

RAMA HARI

54
Q

Reyes takes the fairy tale written in 1812 by the German Grimm brothers Jacob and Wilhel and recreates it anew while remaining true to the story’s essence: that there is might and strength in kindness, great power in forgiveness, and that one must never give up on their dreams.

A

CINDERELLA

55
Q

based on “Summer Solstice” Set in Catholic, Hispanic, 19th century Manila, traditional male- dominance is shaken by the Tadtarin, a native festival in which women suddenly reign supreme shattering the established Hispanic molds and patterns.

A

AMADA

56
Q

is based on the three ritual scenes from Virginia Moreno’s award-winning play the “Onyx Wolf”. The story centers around Governor-General Bustamante’s wife, Luisa, who seeks revenge after her husband was assassinated in 1719 by a hooded mob in the Residencia in Intramuros for carrying out the Royal Orders to stop the Galleon Trade corruptions by religious and influential people.

A

ITIM-ASU

57
Q

The story goes that there were two gods competing against each other - the god of good, Manama, performed by Al Frederick Abraham, and the god of evil, Ogassi, performed by Earl John Arisola.

A

TALE OF THE MANUYU

58
Q

Outstanding contribution to the preservation and development of Kalinga Culture in general and of their dance and music

A

Alonzo Saclag

59
Q

As a child he was fascinated by the rituals and other practices and traditions he saw in their everyday lives and on special occasions.

A

Alonzo Saclag

60
Q

Together with the dance troupe, they go to different schools to perform to inculcate among the Kalinga children and the youth love and pride of their own culture

A

Alonzo Saclag

61
Q

He created a cultural village and park called Awichon and campaigns for the promotion of the Kalinga culture in their local schools

A

Alonzo Saclag

62
Q

He created a cultural village and park called Awichon and campaigns for the promotion of the Kalinga culture in their local schools

A

Alonzo Saclag

Contemporary Art (2 decks)

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