PPC Lesson1
PPC Lesson1
PPC Lesson1
Two things tend to emerge: (1) culture gets mentioned a lot, implying
that it is a significant concept in our society , and one that we likely can’t
do without : and (2) it appears in many different , often contradictory ,
context, suggesting that exactly how it signifies it’s hard to pin down.
When we talk about culture in the sense of building opera houses, the
word obviously means something different than when we talk about
Western culture of youth culture, national culture or business culture.
Culture in the first sense — the one that fist with opera houses, ballet,
and Shakespeare-- focuses on what we usually think of as a high-end
creative production: artistic pursuits that are enjoyed by the elite minority
as opposed to more accessible leisure activities, such as sports. These
kinds of cultural production are those that have over time (often
associated with the past) assumed an especially privileged place in the
collection of ideas and artifacts that comprise a cultural tradition.
THE POPULAR
The word popular was first used in the Late fifteenth century as a legal
term; an action popular is a legal action which can be undertaken by
anyone. It was derived from the Latin word popularis, which means ―of or
belonging to the people‖. More neutrally, ―popular‖ is used to indicate
something that is widespread or generally accepted. It is often used in
contemporary context to describe something that is liked by a lot of
people. For example, when an authoritative source cites NCUS are the
most popular show on television, based on ratings in 20nnations (TV
Guide‖) we can assume, reasonably, that a lot of us like slick crime
dramas shot I glamorous settings. But when we start to look a little
further into how the word ―popular‖ is used today, it becomes obvious
that it has to do with more than numbers -- that the words ―popular‖ and
―the people‖ don’t refer to absolute everyone, but to a particular group to
whom a certain quality or vale is attached.
Komiks. ―Kenkoy‖ was the first Filipino comic strip. Its first appearance
was in 1929. Its main character was created by Antonio Velasquez. It
was only made with four frames and was used as a filler for a weekly
popular magazine Liwayway. In 1931, Kenkoy was joined with their
character and they are:
During the Martial Law, the komiks have been used by the government
agencies to deliver message of development like the Green Revolution,
family planning and housing programs. The content of komiks reflects
dreams, hopes, values, vision of life, escape from reality, and problems
and solutions. All these make komiks definitely a popular culture. Komiks
is created by artists who favor the public voice and dreams. Komiks has
an extensive reach and grasp which makes them entirely ―of the people‖.
Komiks are reading materials that are cheap and accessible for Filipinos
and are a substitute for serious literature. It has such an extensive reach
and grasp because they are being swapped between neighbors and
workers and their relatives. That is a form of circulation in itself and it is
not expensive. Komiks has different roles suitable as a phenomenon of
popular culture. Komiks is a ―Purveyor of entertainment and moral
lessons, disseminator of values and attitudes, and a source of practical
knowledge on farming, government policies, medicine, and science‖.
Film. Cinematrografo are short- featured films that were first shown in
the Philippines. The first feature films that were produced locallt were in
1909, featuring the life of Jose Rizal. Jose Nepomuceno’s ―Dalagang
Bukid‖ was the first full-length feature film shown in 1919. ―Ang Aswang‖
was the first talking picture made in 1932 by Musser.
Radio. Radio stations in the 20s were owned and operated by the
electoral supply company and organized by an American named Henry
Herman. These stations were for demonstrations primarily and provided
music for two years. In the 30s, radio stations were owned by
department stores for advertisement of their commodities. In 1932, radio
advertising was begun by companies other than the radio stations
owners. In the Second World War, during the Japanese occupation, all
radio stations were closed except for KZRH, which was then named to
PIAM. Short-wave reception was prohibited but many have risked their
lives to listen to the broadcast of ―The Voice of Juan de la Cruz‖ and the
―Voice of Freedom‖ from Corregidor and the Voice of America.
Underground newspaper relied greatly on such hidden radio sets for
information about the war. There were 30 operating radio stations five
years after the war. The Bolinao Electronics Corporation was formed in
1961. It was the largest broadcasting chain in the Philippines which then
became the Alto Broadcasting System after the Martial Law.
Popular Music. At the beginning of the 70s, the Philippine pop music
was certainly American. However, Philippine popular music was also
present in the form of kundimans, love songs, zarzuelas, street songs,
and children’s nonsense song but these were not sung on stages or
even played in the airwaves. Philippine popular culture was basically
American, from pop, to rock, and even Broadway, to variety shows iin the
television. Pinoy rock emerged in 1973 through Joey Smith. It has a
Western rock sound but in Pilipino lyrics. Hot Dog came, which is
another group, with a slow and melodious beat in Taglish lyrics. The
Pinoy trend emerged when Rolando Tinio, a poet, translated an album of
American songs into Pilipino for Celetse Legaspi. Radio stations were
required to play three Filipino songs every hour, proving that the
dominant music culture was certainly American. Some radio stations
went all the way by having all Filipino songs in their programming, thus
Pinoy pop had arrived. The Metro Manila Pop Song Festival, or also
known as Metropop Song Festival, is one of the songwriting competitions
in the Philippines that cater to the promotion of the Filipino music. It has
launched the careers of the singers and songwriters in the country.
There are challenges presented by the given literature above. They are
done in isolation. They do not have a clear perspective. They are
unlocated in a definite context. There is no collective effort of defining
Filipino through his popular culture and consolidating findings to
determine the effects of such culture on him.
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