Friday, November 29, 2019
Thursday, November 28, 2019
FUENTE OVEJUNA, BRAVE COMMUNITY
Reviewing a translated play into English from another foreign language in this case, Spanish, can be very laborious, indeed. One has to contend on whether the translator was able to catch the real intent of the author or the English translator. And so there is a two-step understanding of the play from
Lope de Vega wrote during the Golden Age of Spanish Literature
Spanish to English and English to Pilipino. Yet. I am sure, the Fuente Ovejuna version of the Dulaang UP must have been truthful to the real depiction of the revolt of the community people of Fuente Ovejuna against the oppressive comendador who raped women, whether single or married, grabbed the public coffers, and rendered injustice at every instance.
What is remarkable about the play is that it brings us the true historical account of what the people had done to oust the dictator, albeit bloody. Sometimes a journalist account may be good but a theatrical presentation renders the narration best because we see live actors imbued with the principles and commitments of the real characters in life. And so we become agitated because the negative acts of the villains are truly reprehensible.
This is also why when the curtain call came, I booed the villains of the play, not because they did not come up with sterling acting but on the contrary were so believable that to clap for them rather felt being untrue to one's own political commitments. It would have sounded "plastic" clapping for a villain who had shown dragon-like character against the people.
The play was memorable because of all the theatrical elements in it. With the original director being Tony Mabesa who sadly passed away before the opening, the play's set showed concrete gray walls which had square windows through which symbols of power were projected like the coat of arms of the royalty of Spain. Then at one point, when the people were up in arms, shadows of people were flashed on the set that manifested the people's great anger against the dictator.
Even the costumes were beautiful, as they showed the Spanish attire of women and men during that time. The vests of the soldiers were believably iron-clad like and not made-up. The royalty looked really elegant and affluent, these lazy folks who lived on the sweat and tears of the masses. ( When the people faced the royalty couple, I cringed in my seat when they started being over humble and even kneeling down in respect. I guess democracy was not really a popular term at that time.)
I just noticed one thing: after the people had ousted the dictator, to show their having undergone a bloody war, many of the characters on stage had smudges on their faces and arms, but not on their hands. Their hands looked clean and white.
The music, written by Roland Raymond complete with songs and valse were very Spanish showing the deep research that had been done to make the play as authentic as possible audio-wise. ay I suggest however that when songs are sung, the actors must pause for thirty seconds first before singing the first line. this should prepare the audience to hear something that will go on afterwards, and so they would turn all ears. This is instead of going from one dialogue to the song and then to another song again. Suspense is an important element in theatre.
It is rather surprising that in that age, Lope de Vega endowed a woman character Lawrencia the best lines to deliver, rousing the men and women to act against the dictator. De Vega gave her speech so believable that the people truly rose in revolt.
By the way, I wondered if Lope de Vega did not really have a moor among the characters, who is dark-skinned. All the actors were physically fair.
It is really commendable that Dulaang UP has come up with regular theatrical productions giving space for students and professional actors for expression of their talents, year in year out. The backstage members who dutifully attend to the needs of the audience viewers are also admirable for their efficiency. Unfortunately, my companion, Angela failed to come back on time after the intermission so that she had to stand all throughout the second part of the show till the end. Other audience members were also denied their seats. I think side seats should be provided for late entrants so that they could appreciate the play much better.
For continuity, I would suggest that Dulaang UP create an alumni theatrical production group which could continue the tradition so that when these theater students graduate, their artistry would not remain just a college memory.
I must state this: we cannot jump to the conclusion that the Filipino people can imitate what the people of Fuente Ovejuna had done, and that was overthrow the dictator. I think it is too presumptuous to say that the revolt of the masses there should be readily transplanted into Philippine soil. Spain was an aristocracy at that time of writing of the play. The aristocrats inherited rather than got elected their positions. Ergo, the circumstances that brought about the event happening in the community is unique to it and cannot be said to be a model for all oppressed people to follow.
By insinuating that the act of the people of Fuente Ovejuna can be replicated here is to make the audience less of thinkers and analysts. A revolution requires deep thinking and analysis and cannot be readily applied anywhere. Each revolutionary situation is unique and has its own characteristics that would spawn the necessary action of the people. I would say though that the bravery of the people in confronting the dictator is worthwhile emulating.
Lope de Vega wrote during the Golden Age of Spanish Literature Spanish to English and English to Pilipino. Yet. I am sure, the Fuente Ovejuna version of the Dulaang UP must have been truthful to the real depiction of the revolt of the community people of Fuente Ovejuna against the oppressive comendador who raped women, whether single or married, grabbed the public coffers, and rendered injustice at every instance.
What is remarkable about the play is that it brings us the true historical account of what the people had done to oust the dictator, albeit bloody. Sometimes a journalist account may be good but a theatrical presentation renders the narration best because we see live actors imbued with the principles and commitments of the real characters in life. And so we become agitated because the negative acts of the villains are truly reprehensible.
This is also why when the curtain call came, I booed the villains of the play, not because they did not come up with sterling acting but on the contrary were so believable that to clap for them rather felt being untrue to one's own political commitments. It would have sounded "plastic" clapping for a villain who had shown dragon-like character against the people.
The play was memorable because of all the theatrical elements in it. With the original director being Tony Mabesa who sadly passed away before the opening, the play's set showed concrete gray walls which had square windows through which symbols of power were projected like the coat of arms of the royalty of Spain. Then at one point, when the people were up in arms, shadows of people were flashed on the set that manifested the people's great anger against the dictator.
Even the costumes were beautiful, as they showed the Spanish attire of women and men during that time. The vests of the soldiers were believably iron-clad like and not made-up. The royalty looked really elegant and affluent, these lazy folks who lived on the sweat and tears of the masses. ( When the people faced the royalty couple, I cringed in my seat when they started being over humble and even kneeling down in respect. I guess democracy was not really a popular term at that time.)
I just noticed one thing: after the people had ousted the dictator, to show their having undergone a bloody war, many of the characters on stage had smudges on their faces and arms, but not on their hands. Their hands looked clean and white.
The music, written by Roland Raymond complete with songs and valse were very Spanish showing the deep research that had been done to make the play as authentic as possible audio-wise. ay I suggest however that when songs are sung, the actors must pause for thirty seconds first before singing the first line. this should prepare the audience to hear something that will go on afterwards, and so they would turn all ears. This is instead of going from one dialogue to the song and then to another song again. Suspense is an important element in theatre.
It is rather surprising that in that age, Lope de Vega endowed a woman character Lawrencia the best lines to deliver, rousing the men and women to act against the dictator. De Vega gave her speech so believable that the people truly rose in revolt.
By the way, I wondered if Lope de Vega did not really have a moor among the characters, who is dark-skinned. All the actors were physically fair.
It is really commendable that Dulaang UP has come up with regular theatrical productions giving space for students and professional actors for expression of their talents, year in year out. The backstage members who dutifully attend to the needs of the audience viewers are also admirable for their efficiency. Unfortunately, my companion, Angela failed to come back on time after the intermission so that she had to stand all throughout the second part of the show till the end. Other audience members were also denied their seats. I think side seats should be provided for late entrants so that they could appreciate the play much better.
For continuity, I would suggest that Dulaang UP create an alumni theatrical production group which could continue the tradition so that when these theater students graduate, their artistry would not remain just a college memory.
I must state this: we cannot jump to the conclusion that the Filipino people can imitate what the people of Fuente Ovejuna had done, and that was overthrow the dictator. I think it is too presumptuous to say that the revolt of the masses there should be readily transplanted into Philippine soil. Spain was an aristocracy at that time of writing of the play. The aristocrats inherited rather than got elected their positions. Ergo, the circumstances that brought about the event happening in the community is unique to it and cannot be said to be a model for all oppressed people to follow.
By insinuating that the act of the people of Fuente Ovejuna can be replicated here is to make the audience less of thinkers and analysts. A revolution requires deep thinking and analysis and cannot be readily applied anywhere. Each revolutionary situation is unique and has its own characteristics that would spawn the necessary action of the people. I would say though that the bravery of the people in confronting the dictator is worthwhile emulating.
Thank you, Dulaang UP for keeping the theatrical flare alive. Kudos!
With a few flowers in my garden, half a dozen pictures and some books, I live without envy.
PCGG SITTING ON THE PROBLEM
Mr. Marcelo Tecson, a certified public accountant and concerned citizen has followed up his question dated July 23, 2018 to the PCGG this November more than a year of sitting on the problem. Please read the following:
To: PCGG Chairman REYNOLD MUNSAYAC Date: July 23, 2018
Subject: (1st) Follow up of PCGG’s reply to the repeatedly recommended use of Al Capone or TAX EVASION METHOD in the recovery of martial law ill-gotten wealth
We hereby reiterate the following request in the October 18, 2017 email to you, included in the papers stamped received by your office on November 23, 2017, enclosed here as EXHIBIT A:
Pursuant to Section 5 (a) of RA 6713, I hereby request your reply to the following follow-up questions on my recommended PCGG resort to the Al Capone or tax evasion method in the recovery of martial law ill-gotten wealth, subject of my previous communications to PCGG:
- Do you agree to the validity and feasibility of using the tax evasion method in running after martial law ill-gotten wealth?
.
- If you agree, may I know what action you have already taken on my recommendation?
.
- If you do not agree, may I know why?
.
As reported by media (the latest news is shown at the back page), PCGG has been losing in its recovery of martial law ill-gotten wealth because it has followed a very difficult and tedious approach—proving that the wealth is ill-gotten and thus subject to government forfeiture. Unfortunately, this accusation is hard to prove because corruption is done in utmost secrecy and the corrupt did not sign official receipts for the proceeds of their crime.
However, there is the Al Capone or TAX EVASION METHOD that is not difficult to pursue because the shreds of evidence needed are easy to produce: FIRST, claimants’ affidavit—submitted to Sandiganbayan—swearing ownership of the allegedly lawfully acquired wealth, which shifted the burden of proof to PCGG; and SECOND, testimony by the BIR Commissioner that there were no income and estate and inheritance taxes paid on the obviously untaxed wealth. PCGG has refused to follow this method for unexplained reason.
As arranged by Atty. Ma. Luisa Narvadez, Marcelo L. Tecson met with two PCGG officers at the PCGG office on November 23, 2017. They agreed to issue a written reply or email on what PCGG has done on the recommendation and the reason for it. However, up to now PCGG has not issued a written reply. Hence, this follow-up letter.
MARCELO L. TECSON .
A CPA and Concerned Citizen
LTFRB CHAIRMAN FOLLOW-UP
ATTY MARTIN B. DELGRA III
Chairman,
Land Transportation and Franchising Board
Dear Atty. Delgra,
Last October 27, 2019, a month ago, I wrote a letter which is reproduced below for refreshing the minds of your staff in case you don't read complaint letters from the public.
Please act on my complaint, because everyday, I am suffering from the inconvenient interiors as well as unsafe design of the bodies of tricycles. Kindly reply. Thank you.
Sincerely,
WILHELMINA S. OROZCO
Greetings.
May I present my suggestions regarding tricycles here in MtroManila:
1. The interiors of tricycles should be foamed. The drivers do not drive and majority are in a hurry snaking in and out of streets causing passengers to bump their heads on steel sides and tops, which are actually dangerous acts, healthwise;
2. A signage should be placed inside the tricycle indicating:
a. name of the driver
b. operator's name and contact number;
c. LTFRB contact number for complaints; and
3. Silencers- each tricycle should be equipped with a silencer to make them ply around MetroManila quietly thus creating a peaceful place to live in.
Kindly give priority to these suggestions in order to allow us to have a more rational and humane life.
Sincerely,
WILHELMINA S. OROZCO
Chairman,
Land Transportation and Franchising Board
Dear Atty. Delgra,
Last October 27, 2019, a month ago, I wrote a letter which is reproduced below for refreshing the minds of your staff in case you don't read complaint letters from the public.
Please act on my complaint, because everyday, I am suffering from the inconvenient interiors as well as unsafe design of the bodies of tricycles. Kindly reply. Thank you.
Sincerely,
WILHELMINA S. OROZCO
Greetings.
May I present my suggestions regarding tricycles here in MtroManila:
1. The interiors of tricycles should be foamed. The drivers do not drive and majority are in a hurry snaking in and out of streets causing passengers to bump their heads on steel sides and tops, which are actually dangerous acts, healthwise;
2. A signage should be placed inside the tricycle indicating:
a. name of the driver
b. operator's name and contact number;
c. LTFRB contact number for complaints; and
3. Silencers- each tricycle should be equipped with a silencer to make them ply around MetroManila quietly thus creating a peaceful place to live in.
Kindly give priority to these suggestions in order to allow us to have a more rational and humane life.
Sincerely,
WILHELMINA S. OROZCO
Monday, November 25, 2019
WHEN GOVERNMENT SERVICE REQUIRES DIGNIFIED ADMINISTRATION
“(F)iring is a necessary evil, says Jodi Glickman, author and founder of communication consulting firm Great on the Job. “As the manager, you have to bear in mind what’s right for the company.” You have to focus on the fact that “the firing makes good business sense and hopefully is in the best interest of the person and your team going forward.” ...
The message should be direct and straightforward,” she says. Do not reveal reasons behind the decision — that’s confidential, and besides, “It sets a bad precedent to badmouth a former employee.” (https://hbr.org/2016/02/the-right-way-to-dismiss-someone)
Glick is talking about private companies but it should stand to reason that the government can employ the same methods. The Civil Service Commission should come up with ethical rules on dropping people from the roster with human dignity intact.
How many male employees were caught red-handed but were given a very graceful exit? Only women are badly battered all the time.
Let us not bow too much to authority when we know that in politics, some elected or appointed officials hardly got education on good manners and right conduct and just got immersed and bred in the dog-eat-dog style of political work.
Every day we should look at everything as a chance to refine our governmental functions not just in terms of delivering services to the people but also in the way the employees are handled.
The message should be direct and straightforward,” she says. Do not reveal reasons behind the decision — that’s confidential, and besides, “It sets a bad precedent to badmouth a former employee.” (https://hbr.org/2016/02/the-right-way-to-dismiss-someone)
Glick is talking about private companies but it should stand to reason that the government can employ the same methods. The Civil Service Commission should come up with ethical rules on dropping people from the roster with human dignity intact.
How many male employees were caught red-handed but were given a very graceful exit? Only women are badly battered all the time.
Let us not bow too much to authority when we know that in politics, some elected or appointed officials hardly got education on good manners and right conduct and just got immersed and bred in the dog-eat-dog style of political work.
Every day we should look at everything as a chance to refine our governmental functions not just in terms of delivering services to the people but also in the way the employees are handled.
HOW TO DEAL WITH UNTOWARD GOVT'L MALFUNCTIONS
I find it very disturbing when women are dropped from their posts under this administration. There is so much bruhaha and then the victims are scarred psychologically because of the nonchalant and/or angry way by which they are dismissed.
May I request this administration to be kinder in dealing with women employees especially those who were elected by the people?
That is a simple request, and the spokesperson of the administration must not sound as if he is already the president by acting so lackadaisical when delivering decisions. I think the spokespersons must act with non-partisan outlook, or attitude as he in the long run is serving the people, not just the president.
Let us develop dignified manners befitting the government servants so that future officials shall learn from them and begin a regime that is kind and humane to everyone.
May I request this administration to be kinder in dealing with women employees especially those who were elected by the people?
That is a simple request, and the spokesperson of the administration must not sound as if he is already the president by acting so lackadaisical when delivering decisions. I think the spokespersons must act with non-partisan outlook, or attitude as he in the long run is serving the people, not just the president.
Let us develop dignified manners befitting the government servants so that future officials shall learn from them and begin a regime that is kind and humane to everyone.
Tuesday, November 19, 2019
GLORY GLORY HALLELUJIAH
Folks I am sure you are familiar with this song which increases our religious fervour.
Mine eyes have seen the glory
of the coming of the lord,
He is trampling out the vintage
where the grapes of wrath are stored,
He hath loosed the fateful lightning
of His terrible swift sword,
His truth is marching on
Glory! Glory ! Hallelujah! Glory! Glory! Hallelujah
Glory! Glory ! Hallelujah! His truth is marching on
I have seen Him in the watch fires
of a hundred circling camps,
They have builded Him an altar
in the evening dews and damps,
I can read his righteous sentence
in the dim and flaring lamps,
His day is marching on
Glory! Glory ! Hallelujah! Glory! Glory! Hallelujah
Glory! Glory ! Hallelujah! His truth is marching on
I have read a fiery Gospel
writ in burnished rows of steel,
"As ye deal with My contemners
so with you My grace shall deal,"
Let the Hero born of woman
crush the serpent with His heel,
Since God is marching on
Glory! Glory ! Hallelujah! Glory! Glory! Hallelujah
Glory! Glory ! Hallelujah! His truth is marching on
THE NCCA, Cultural Center of the Philippines, and all other cultural organizations must make a stand against bastardization of cultural products that are part of humanity's tradition.
Facts about the song:
Mine eyes have seen the glory
of the coming of the lord,
He is trampling out the vintage
where the grapes of wrath are stored,
He hath loosed the fateful lightning
of His terrible swift sword,
His truth is marching on
Glory! Glory ! Hallelujah! Glory! Glory! Hallelujah
Glory! Glory ! Hallelujah! His truth is marching on
I have seen Him in the watch fires
of a hundred circling camps,
They have builded Him an altar
in the evening dews and damps,
I can read his righteous sentence
in the dim and flaring lamps,
His day is marching on
Glory! Glory ! Hallelujah! Glory! Glory! Hallelujah
Glory! Glory ! Hallelujah! His truth is marching on
I have read a fiery Gospel
writ in burnished rows of steel,
"As ye deal with My contemners
so with you My grace shall deal,"
Let the Hero born of woman
crush the serpent with His heel,
Since God is marching on
Glory! Glory ! Hallelujah! Glory! Glory! Hallelujah
Glory! Glory ! Hallelujah! His truth is marching on
He has sounded forth the trumpet
that shall never call retreat,
He is sifting out the hearts of men
before His judgment seat,
Oh, be swift, my soul, to answer Him!
Be jubilant, my feet,
Our God is marching on
Glory! Glory ! Hallelujah! Glory! Glory! Hallelujah
Glory! Glory ! Hallelujah! His truth is marching on
that shall never call retreat,
He is sifting out the hearts of men
before His judgment seat,
Oh, be swift, my soul, to answer Him!
Be jubilant, my feet,
Our God is marching on
Glory! Glory ! Hallelujah! Glory! Glory! Hallelujah
Glory! Glory ! Hallelujah! His truth is marching on
Yet, when Imhar the advertising over the radio I cringe with disgust. They have changed the first stanza with:
E________ Cement ang matibay
E________ Cement ang matibay
E________ Cement ang matibay
E________ Cement ang matibay
Now don't wonder anymore if our fellow country folks have lessened their belief and trust in God. The advertiser simply does not believe in the glory of God but only of the cement product.
THE NCCA, Cultural Center of the Philippines, and all other cultural organizations must make a stand against bastardization of cultural products that are part of humanity's tradition.
Facts about the song:
Interesting Facts About
'The Battle Hymn of the Republic'
'The Battle Hymn of the Republic'
- Julia Ward Howe wrote the lyrics to “The Battle Hymn of the Republic" after visiting a Union Army Camp on the Potomac River near Washington D.C. in December of 1861. Her ancestors were famous during The American Revolutionary War.
- While visiting the army camp, she heard a favorite marching song of the Union Army. The song was set to the melody from the parody song “John Brown’s Body.” The John Brown in the song referred to a Scottish Sergeant in the 12th Massachusetts Regiment, not John Brown the famous abolitionist.
- The song's melody was made famous before the Civil War by a South Carolinian choirmaster and organist named William Steffe. He is believed to have written the melody in 1856. The song was originally titled “Say Brothers Will You Meet Us.”
- Reverend James Freeman Clark challenged Julia Ward Howe into writing a poem with a more powerful message for the marching song.
- That same night Julia Ward Howe dreamed the first line and awoke with it on her mind in the middle of the night. She wrote the entire poem by candle light before dawn. She forced herself up from her sleep because she was fearful that if she did not immediately write the poem she would forget it.
- The Atlantic Monthly paid her five dollars for the poem and published it in 1862, James T. Field of The Atlantic Monthly named the poem “The Battle Hymn of the Republic.”
- The chaplain of the 122nd Ohio Regiment taught it to Union soldiers every where.
- It is said that President Abraham Lincoln was so moved by the song, he wept when he heard it.
- While visiting the army camp, she heard a favorite marching song of the Union Army. The song was set to the melody from the parody song “John Brown’s Body.” The John Brown in the song referred to a Scottish Sergeant in the 12th Massachusetts Regiment, not John Brown the famous abolitionist.
- The song's melody was made famous before the Civil War by a South Carolinian choirmaster and organist named William Steffe. He is believed to have written the melody in 1856. The song was originally titled “Say Brothers Will You Meet Us.”
- Reverend James Freeman Clark challenged Julia Ward Howe into writing a poem with a more powerful message for the marching song.
- That same night Julia Ward Howe dreamed the first line and awoke with it on her mind in the middle of the night. She wrote the entire poem by candle light before dawn. She forced herself up from her sleep because she was fearful that if she did not immediately write the poem she would forget it.
- The Atlantic Monthly paid her five dollars for the poem and published it in 1862, James T. Field of The Atlantic Monthly named the poem “The Battle Hymn of the Republic.”
- The chaplain of the 122nd Ohio Regiment taught it to Union soldiers every where.
- It is said that President Abraham Lincoln was so moved by the song, he wept when he heard it.
--------------------------------------------------------
The above information was found by reading many accounts both on the internet and by going through song books. Students can make a list of search words related to patriotic music and social studies. These words can include names of Presidents, names of songs, phrases such as Civil War music, Revolutionary War music and patriotic music.
Students who cannot read should choose pictures that they want to post on bulletin boards. This site contains a music journal workshop with more ideas about teaching special needs students interactive social studies and music concepts. Select the Music Workshop Lessons Web Page to further explore these lessons.
--------------------------------------------------------
Reference Links and Bibliography
Abraham Lincoln:
http://en.wikipedia.org/wiki/Abraham_Lincoln
Julia Ward Howe:
http://en.wikipedia.org/wiki/Julia_Ward_Howe
Battle Hymn of the Republic:
http://en.wikipedia.org/wiki/Battle_hymn_of_the_republicThe Civil War Home Page:
http://www.civilwarhome.com/
The above information was found by reading many accounts both on the internet and by going through song books. Students can make a list of search words related to patriotic music and social studies. These words can include names of Presidents, names of songs, phrases such as Civil War music, Revolutionary War music and patriotic music.
Students who cannot read should choose pictures that they want to post on bulletin boards. This site contains a music journal workshop with more ideas about teaching special needs students interactive social studies and music concepts. Select the Music Workshop Lessons Web Page to further explore these lessons.
--------------------------------------------------------
Reference Links and Bibliography
Abraham Lincoln:
http://en.wikipedia.org/wiki/Abraham_Lincoln
Julia Ward Howe:
http://en.wikipedia.org/wiki/Julia_Ward_Howe
Battle Hymn of the Republic:
http://en.wikipedia.org/wiki/Battle_hymn_of_the_republicThe Civil War Home Page:
http://www.civilwarhome.com/
'Patriotic Music
Companion Fact Book'
The Chronological History of our Favorite Traditional Patriotic Songs
by Dale V. Nobbman
CenterStream Publishing 2002
The Seventh Wisconsin Voluteer Infantry:
http://www.7thwisconsin.org/
Companion Fact Book'
The Chronological History of our Favorite Traditional Patriotic Songs
by Dale V. Nobbman
CenterStream Publishing 2002
The Seventh Wisconsin Voluteer Infantry:
http://www.7thwisconsin.org/
Tuesday, November 12, 2019
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