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(Mark Angelo Sison)
The painting depicts the birth of Roman Catholism in the Philippines. It is a creation of Vicente Manansala. This rendition is a combination of traditional and modern techniques in painting. It also exhibits his mastery of transparent cubism. Vicente Manansal use oil on canvas as a medium for this painting.
source: http://kapaglumingonkaakinka.blogspot.com
http://manila-photos.blogspot.com/

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(Giana Nalugon)
This mural painting is one of the best representation of historical artworks. The painting presents the planting of the cross in Cebu with Ferdinand Magellan Ferdinand Magellan, Spanish soldiers and the natives with intricate tattoos known as pintados during 1521. The painting was commisioned by the national government for the celebration of the 400 years of Philippine Christianization held in Cebu in 1965.
source: http://manila-photos.blogspot.com

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(name of student # 2)
On top of the jar cover or lid, there's a figurine that shows two human figures sailing using a small boat. This is aligned with the beliefs of early Filipinos that a who have died, his/her soul will travel or sail away. This is the concept of afterlife by the early Filipino settlers.
(source: national museum)

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(name of student # 1)
This artifact justifies the belief of our ancestors about afterlife.
A Manunggul Jar is a type of burial jar made by the early Filipinos during the late Neolithic Period, about 890-710 B.C.
This artifact was found in the early 1960’s in Manunggul Cave, Lipuun Point, Palawan by Dr. Robert B. Fox and Miguel Antonio in 1962. This is considered as one of the most important national treasure in the Philippines.
(source: national museum)

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Kenji Barrameda
With the arrival of the new colonial power came a shift in art patronage from the native ilustrados to the Americans.
There from, the American Colonization brought high influence to the major Filipino art forms.

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Student 1: Edcel Benigno
Student 2: Katrina Young

Spoliarium is a a painting crated by Juan Luna during Spanish Colonial Period, and Juan Luna submitted it in Explosion Nacional De Bellas Artes since 1884. And the meaning of this painting is connected during the Roman Empire, it's a dying Galdiator. Because this time, Gladiator is the popular show and held in Collusium in Italy. So all the dead body of gladiators are putting in the catacombs. to buried there. It is related in the Spanish Period, because during Spanish Period is full of fatal and or  tragedy. So all of the dead Indios representing as a Filipinos. and the Roman Soldiers that pulling the dead bodies representing the Spanish Soldiers.  https://en.wikipedia.org/wiki/Spoliarium

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Student 1: John Polon
Centuries before Ferdinand Magellan came to the Philippines in 1521. The Visayan culture was already established even reaching in the areas of Mindanao.So when the Spanish Recollect missionaries first entered Cagayan territory in 1622, they saw and wrote that tattooing was prevalent among the natives, just like just like the Visayans. The Spaniards called the Visayans "Pintados" or painted ones and this term was also used to describe any tattooed male in Mindanao.
( source: https://www.sunstar.com.ph/article/184876/Local-News/Roa-The-Visayan-Pintados

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Fabián de la Rosa        Filipino painter 

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Fabián de la Rosa        Filipino painter 

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KC BACUS - STUDENT #1
Fabian Cueto de la Rosa, regarded as foremost Filipino painter during the American period, was born in Paco, Manila. De la Rosa was noted for his realistic portraits, genre paintings, and landscapes in subdued colors. He was the uncle and mentor to the Philippines' national artist in painting, Fernando Amorsolo, and to his brother Pablo. He is regarded as a "master of genre" in Philippine art.

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Women Working in a Rice Field                               Painting of Fabián de la Rosa 

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Women Working in a Rice Field                               Painting of Fabián de la Rosa 

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TRISHA DEL ROSARIO - STUDENT #2
“Women working in a rice field" received the golden award at the International Exposition held in St. Louis, Missouri, USA in 1904.

The title “Women working in a rice field” simply tells us the Filipino experience from the fields of labor. It directly identifies the subject in the painting. It is a link of ‘interpretation of Filipino life’ with the process of self-discovery and self-awareness.

His wife Gorgonio died of cancer in 1937, and the artist was left living alone, suffering from kidney disease. He died on December 15, 1938 at the Kraut Apartments in Quiapo, Manila.

Medium and

Technique Used

Two-Dimensional form

Oil on Canvas

Academic but lacking atmosphere

Highlight of ambiance on colors

Play of colors in matte and space

1902

The Painter: Fabian de la Rosa
Purpose/reason behind its dimension:

PHILIPPINE-AMERICAN WAR

To show the differences in the body positions of the women

From reality

To engage the observer into the physical labor done by the women in the painting

July 2, 1902 – US President Theodore Roosevelt proclaim the end of insurgence in the Philippines

But the fight between guerillas and Americans continued

November 12, 1902 – Bandolerism Act passed by the Philippine Commission

People / Groups resisting the Americans were labeled as brigands or ladrones

Guerilla Groups Leaders

Simeon Ola

Macario Sakay – established the ‘Supreme Government of the Tagalog Archipelago’

De la Rosa introduced and taught decorative painting. Teaching and portrait painting became his means of livelihood.

De la Rosa was noted for his realistic portraits, genre paintings, and landscapes in subdued colors.

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This painting was made by Fernando Amorosolo around 1942. During that time of the occupation works were manifesting the definition of a nation fighting for independece. Realism was favored more because it had the power to communicate directly to the people. (Accrdng. to dialougue.com)

That being said, realism was favored by artists and their artworks as it had the power to communicate directly to people.
I believe that Amorsolo made this to oil-on-canvas painting to show that the people may have been occupied it will not stop the community from growing and continuing. When I read realism from dialougue I imagined that the occupation may not have been as bad as described to me by those who came before me. (Though I am not in any place to claim that it was or wasn't). In my own personal opinion that the occupation `was probably as bad as described` but underneath all of those bad things, the oppressions. The community still continued and lived as normal. It still functioned properly, which is why this artwork, this painting made by Amorsolo shows that despite everything that's going on, life still carried on as usual. For the most part that is. You'll see a Japanese flag on the right side, a Japanese soldier on the upper left. Deep down the only difference was that the country was under the Japanese regime and everything still continued as usual in the community and the markets.

Disclaimer , take everything I've said with a grain of salt, since this is only my opinion on the matter and how I see Japan as a nation and as a culture now and with some influence from how they were in the past.

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Maren Tria - Student #1
This oil painting on canvas depicts a rural scene where a group of people are shown celebrating a fiesta in Antipolo. The main focus is on a pair of dancers in the field surrounded by revelers both young and old.  Abundant food is presented in basketfuls of assorted fruits on the benches and on the ground, as well as the traditional roasted pig or lechon being prepared by two men. Nearby is a house with huge windows from where dwellers watch the revelers. At the background is a huge church, a symbolic town structure.  A vast number of townsmen complete the essence of a fiesta.

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(Student #1: Audrey Hannah C. Sadsad)

This painting is also known as “The Roman Dames” painted by one of the most important painters during the Spanish period in the Philippines.

This artwork was also one of Juan Luna’s early works. This was painted during his time as a student in the Real Academia de Bellas Artes de San Fernando (Royal Academy of Fine Arts of San Fernando) It was auctioned in Hong Kong in 2008.
(source: sizeofart.com & wikivisually.com)

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Title: Mango Harvest by Fernando Amorsolo

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Title: Mango Harvest by Fernando Amorsolo

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Date: 1950
Medium: Oil on Canvas

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Lester Inlab
It can be said that the pair of dancers are in the usual same pose as those of dancers in Fernando Amorsolo’s various well-known tinikling-related paintings. A viewer may be quick to surmise at a glance that this painting belongs to that category, as the bamboo handlers in the usual tinikling dance often blend in the crowd and are not easily distinguished. However, there are no bamboo-handlers present in this painting simply because the dancers are not performing the tinikling dance.  Thus, this indication is what makes this painting very unique.

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Filipino Struggles in History by Carlos "Botong" Francisco

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Filipino Struggles in History by Carlos "Botong" Francisco

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Drizella Grefaldo
Type: Mural
"The artwork represents the victory of soldier, who occupied the Philippines in 1942."

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Fernando Amorsolo's "Making of the Philippine Flag"

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Fernando Amorsolo's "Making of the Philippine Flag"

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Luke Pelobello student #1
This is the image depicted by Fernando Amorsolo when he painted the scene of the making of the Philippine Flag. It was woven by three women who were ordered by the first president (Emilio Aguinaldo) to do so. The women's names are: Marcela Marino de Agoncillo, Lorenza Agoncillo, and Delfina Herbosa de Natividad.

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ARTIST: Fernando Amorsolo
DATE: 1950
SIZE: 191/2 x 19 1/2 inches
MEDIUM: Oil on Canvas

Purpose: This year was the rise of woman rights. Many events for the Filipinas occurred during that time. One, the Philippines held a plebiscite for Filipino women on whether they should be extended the right to suffrage; that Filipino women were given the right to vote during elections.

Reference: https://www.frazerfineart.com/art-detail/?inv=c1394&at=FernandoAmorsolo

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"Planting Rice"
Ralph Yves
(Student #2)

Fernando Amorsolo (1892-1972) was a dominant figure in the visual arts of the Philippines during the decades before the Second World War and into the post-war period.  The ‘Planting Rice with Mayon Volcano, Exhibits the happiness  across from the difficulties in planting rice. The Filipino Villagers in their bright clothes and straw hats plant together with a fresh and green landscape of plenty. behind the filipino villagers is the peaceful flume of steam.

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(Psalmuel Lasquite)
It's purpose includes used for fermenting rice or tapai, for fermenting vinegar or alcohol, for storing substances like food and water, for cooking, and for burying for the deceased.

This pot is commonly used in water storage, fermentation, and cooking.

S2: Shahla Faith Cardenas
Is a large wide-mouthed earthenware or stoneware jars found in various Austronesian cultures in island Southeast Asia. This is an Art of Pottery, an example of Visual Arts.

The sizes range from 30 cm to larger than 100 cm.

Tapayan is used exclusively for storing water and is sometimes called Banga or balanga, to distinguish them from other Tapayan. (The term Banga can be usually heard from Tagalog speakers.)

Tapayan is an essential part of traditional Filipino kitchens. We can usually spot this especially in the homes of older Filipinos who still preserves the use of antiques.

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Student #1: Jhissel L. Muchinejo
When the Spaniards arrived in the Philippines in 1521, the colonizers used art as a tool to propagate the Catholic faith through beautiful images. ... They replaced the arts that were once done in a communal spirit and community setting for rituals. The church, particularly the friars, became the new patron of the arts. When the Spaniards arrived in the Philippines in 1521, the colonizers used art as a tool to propagate the Catholic faith through beautiful images. With communication as problem, the friars used images to explain the concepts behind Catholicism, and to tell the stories of Christ’s life and passion.

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(Student number 2)
Specifically, you can see in this painting that the fallen gladiators were being dumped by the Roman Soldiers. The men who are being dragged symbolize Filipinos and the men who are dragging them are representative of the spanish rule. The woman crouching on the other side symbolizes our 'Inang Bayan' and the people on the left side symbolize social cancer at their time.

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(Student #2: Kirstien Dominique N. Santos)
Las Damas Romanas (also  known as The Roman Dames) is an oil canvas made with colors of reddish orange and olive. As an important example of his early work, Las Damas Romanas helps us understand his training as an academic painter and enriches our knowledge of his life and work.
(Source: National Historical Institute, Philippines)

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Student 2: Leanna Guzman
-The tattoos indicate a warrior's experience in battle
-Chest/abdomen tattoos only come after further action in battle; even on the back too
-Facial tattoos from ear to chin to eye were only for the boldest and and toughest warriors
-Painful process (tracing design on the body, usage of needles then rubbing soot into the fresh wound); some men, though qualified warriors, avoid it until shamed to do so
-Burning decorative scars on their body was also common
-Common patterns: Labid (distinctive inch-wide zigzag/snaking lines on the legs to waist), Ablay (shoulder), dubdub (chest to throat), daya-daya or tagur in Panay (arms), Bangut (muzzle/halter (on the face), Hinawak (below the waist), and lipongs (tattooed all over except under the G-string)

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student 1: Trisha Lynn Edradan
Kulintang is a living testament to the rich cultural history of the Philippines. It is an ancient form of orchestra that predates the influences of the known religions like Islam and Christianity. The playing of the kulintang is known to be just a simple tradition before but had evolved as a music of the culture of the Indigenous.

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(Sebastian Martin A. David)

Artist: U2

Album: The Joshua Tree

Released: 1987

Genre: Rock

Nominations: MTV Video Music Award for Best Cinematography, MORE

"With or Without You" is a song by Irish rock band U2. It is the third track on their fifth studio album, The Joshua Tree (1987), and was released as the album's lead single on 16 March 1987. The song was the group's most successful single at the time, becoming their first number-one hit in both the United States and Canada by topping the Billboard Hot 100 for three weeks and the RPM national singles chart for one week, with a further three weeks at number two.

"With or Without You" features sustained guitar parts played by guitarist the Edge with a prototype of the Infinite Guitar, along with vocals by lead singer Bono and a bassline by bassist Adam Clayton. The song originated from a demo recorded in late 1985 that the group continued to work on throughout The Joshua Tree sessions. Ostensibly a troubled love song, the track's lyrics were inspired by Bono's conflicting feelings about the lives he led as a musician and domestic man.

Critics praised the song upon its release. It is frequently performed on the band's tours, and it has appeared on many of their compilation albums and concert films. "With or Without You" is U2's second most frequently covered song. In 2010, Rolling Stone magazine placed the song at number 132 on their list of "The 500 Greatest Songs of All Time”.

MUSIC VIDEO:
https://www.youtube.com/watch?v=ujNeHIo7oTE

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Student#2: Kurth Isaiah C. Mejia. This painting is made by Carlos "Botong" Francisco. On March 31, 1521, an Easter sunday, Magellan ordered a mass to be celebrated which was presided Father Pedro Valderrama, the Andalusion chaplain of teh fleet, the only priest then. The First mass was conducted near the shores of the island, the First Holy Mass marked the birth of Roman Catholicism in the Philippines.

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(Angeloking delarea)

In late 1985, U2 convened at a house that drummer Larry Mullen Jr. bought to review material the group had written during The Unforgettable Fire Tour. During this time, a rough demo of "With or Without You" was written, with lead vocalist Bono composing the song's chord sequence. The band continued to work on the song at STS Studios, creating many permutations of the track, but not making any progress. Guitarist the Edge considered the song at that point to be "awful".The track consisted of a Yamaha drum machine beat and a bass part played by bassist Adam Clayton using an Ibanez bass guitar with a short scale.According to Clayton, these early versions of the song sounded too sentimental and "very traditional because the chords just went round and round and round".

The sessions for The Joshua Tree started in earnest in 1986, and U2 were recording at the Georgian mansion Danesmoate House in Dublin. The group attempted to take the song in a different direction, although Bono was reluctant. Under the direction of co-producers Brian Eno and Daniel Lanois, the Edge pursued more ambient guitar playing, Clayton turned up the volume on his bass, and Mullen experimented with an electronically enhanced drum kit. Despite the work they continued to put into the track, the group considered abandoning the song, as they could not find an arrangement they liked.

Bono and his friend Gavin Friday continued to work on the song after Lanois and Eno declined to do so. Bono credits Friday with rescuing the song and rearranging it, believing it could be a hit. Eno added a keyboard arpeggio, similar to the one from "Bad". The song's fate was still in doubt when the Edge was sent a prototype of the Infinite Guitar by Canadian musician Michael Brook, with whom he had collaborated for the Captive soundtrack. The instrument allowed sustained notes to be played, producing "a similar effect to the E-Bow", but with the ability to provide all the "mid-points between no sustain and infinite sustain" that the E-Bow cannot provide. The prototype included elaborate assembly instructions and as the Edge recollects, "one wrongly placed wire and you could get a nasty belt of electricity. This piece of gear would have failed even the most basic of safety regulations."On subsequent tours, his guitar technician occasionally received electric shocks from the instrument when preparing it for performances.

Listening to the backing track to "With or Without You" in the control room, Bono and Friday heard the sustained effect that the Edge was creating with the Infinite Guitar in the other room. The combination of the two playing simultaneously caught their attention. According to Lanois, "I said, 'That sounded pretty cool,' so we listened back and I said, 'Jesus, it's better than I thought.'" The Edge immediately recorded an Infinite Guitar part in two takes.The band considers the song's recording to be one of the album sessions' breakthrough moments, as it was recorded amidst concerns that they had run out of ideas.

Eno sequenced the song's electronic drum beat on the Yamaha DX7 synthesiser. Rather than connect it to the recording equipment via a DI unit and maintain the instrument's pristine sound, the producers plugged it into a Mesa Boogie guitar amplifier and then miked it to give the sound more personality. As a result, Lanois said it sounded "more like people playing in a room". The sequenced beat was chosen to give the song a feeling of discipline, so that when Mullen's acoustic drums enter the song, "they mean something", in Lanois' words.

Producer Steve Lillywhite was hired by U2 in December 1986 to help mix some songs for The Joshua Tree; "With or Without You" was one of them. While Lillywhite and engineer Mark Wallis were mixing it, Eno entered the room and told them that he wanted to change the introduction. Wallis said: "And it was kind of awe-inspiring because he said, 'Right, send this guitar through those ten effects over there and send that guitar through those ten effects over there and then feed them back to each other.' So what started as a traditional bit of rhythm guitar, bass, and drums suddenly became something quite otherworldly and spiritual, and the sound of the music you were hearing started to give you a feeling of where the song was going to go prior to the lyric. I thought that was really visionary." Ultimately, "With or Without You" was the most debated song of those on which Lillywhite worked, as Eno and Lanois each had ideas different from his. Lillywhite, who wanted a more mainstream approach to his mix, favoured "a little more crash, bang" sound to Mullen's drums that enter later in the song, while Eno preferred that the drums remain "more mysterious and more supportive".

Bono wrote the lyrics during his first night visiting Côte d’Azur in 1986, while struggling to reconcile his responsibilities as both a married man and a musician.

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Student 1: Jazzmae Cabaltera

A tongatongis a percussion instrument made of various lengths of bamboo, which is found in the Kalinga province of the Philippines. When you hit it against soft earth a certain drone reverberates though the instrument's open mouth. When an entire set of Tongatong is played in interloping rhythm and prolonged with the tribal chanting, it could put the audience and the dancers in a trance.

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In late 1985, U2 convened at a house that drummer Larry Mullen Jr. bought to review material the group had written during The Unforgettable Fire Tour. During this time, a rough demo of "With or Without You" was written, with lead vocalist Bono composing the song's chord sequence. The band continued to work on the song at STS Studios, creating many permutations of the track, but not making any progress. Guitarist the Edge considered the song at that point to be "awful".The track consisted of a Yamaha drum machine beat and a bass part played by bassist Adam Clayton using an Ibanez bass guitar with a short scale.According to Clayton, these early versions of the song sounded too sentimental and "very traditional because the chords just went round and round and round".The sessions for The Joshua Tree started in earnest in 1986, and U2 were recording at the Georgian mansion Danesmoate House in Dublin. The group attempted to take the song in a different direction, although Bono was reluctant. Under the direction of co-producers Brian Eno and Daniel Lanois, the Edge pursued more ambient guitar playing, Clayton turned up the volume on his bass, and Mullen experimented with an electronically enhanced drum kit. Despite the work they continued to put into the track, the group considered abandoning the song, as they could not find an arrangement they liked.Bono and his friend Gavin Friday continued to work on the song after Lanois and Eno declined to do so.[7] Bono credits Friday with rescuing the song and rearranging it, believing it could be a hit. Eno added a keyboard arpeggio, similar to the one from "Bad". The song's fate was still in doubt when the Edge was sent a prototype of the Infinite Guitar by Canadian musician Michael Brook, with whom he had collaborated for the Captive soundtrack. The instrument allowed sustained notes to be played, producing "a similar effect to the E-Bow", but with the ability to provide all the "mid-points between no sustain and infinite sustain" that the E-Bow cannot provide. The prototype included elaborate assembly instructions and as the Edge recollects, "one wrongly placed wire and you could get a nasty belt of electricity. This piece of gear would have failed even the most basic of safety regulations."On subsequent tours, his guitar technician occasionally received electric shocks from the instrument when preparing it for performances.Listening to the backing track to "With or Without You" in the control room, Bono and Friday heard the sustained effect that the Edge was creating with the Infinite Guitar in the other room. The combination of the two playing simultaneously caught their attention. According to Lanois, "I said, 'That sounded pretty cool,' so we listened back and I said, 'Jesus, it's better than I thought.'" The Edge immediately recorded an Infinite Guitar part in two takes.The band considers the song's recording to be one of the album sessions' breakthrough moments, as it was recorded amidst concerns that they had run out of ideas.Eno sequenced the song's electronic drum beat on the Yamaha DX7 synthesiser. Rather than connect it to the recording equipment via a DI unit and maintain the instrument's pristine sound, the producers plugged it into a Mesa Boogie guitar amplifier and then miked it to give the sound more personality. As a result, Lanois said it sounded "more like people playing in a room". The sequenced beat was chosen to give the song a feeling of discipline, so that when Mullen's acoustic drums enter the song, "they mean something", in Lanois' words.Producer Steve Lillywhite was hired by U2 in December 1986 to help mix some songs for The Joshua Tree;[10] "With or Without You" was one of them. While Lillywhite and engineer Mark Wallis were mixing it, Eno entered the room and told them that he wanted to change the introduction. Wallis said: "And it was kind of awe-inspiring because he said, 'Right, send this guitar through those ten effects over there and send that guitar through those ten effects over there and then feed them back to each other.' So what started as a traditional bit of rhythm guitar, bass, and drums suddenly became something quite otherworldly and spiritual, and the sound of the music you were hearing started to give you a feeling of where the song was going to go prior to the lyric. I thought that was really visionary." Ultimately, "With or Without You" was the most debated song of those on which Lillywhite worked, as Eno and Lanois each had ideas different from his. Lillywhite, who wanted a more mainstream approach to his mix, favoured "a little more crash, bang" sound to Mullen's drums that enter later in the song, while Eno preferred that the drums remain "more mysterious and more supportive".Bono wrote the lyrics during his first night visiting Côte d’Azur in 1986, while struggling to reconcile his responsibilities as both a married man and a musician.

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In late 1985, U2 convened at a house that drummer Larry Mullen Jr. bought to review material the group had written during The Unforgettable Fire Tour. During this time, a rough demo of "With or Without You" was written, with lead vocalist Bono composing the song's chord sequence. The band continued to work on the song at STS Studios, creating many permutations of the track, but not making any progress. Guitarist the Edge considered the song at that point to be "awful".The track consisted of a Yamaha drum machine beat and a bass part played by bassist Adam Clayton using an Ibanez bass guitar with a short scale.According to Clayton, these early versions of the song sounded too sentimental and "very traditional because the chords just went round and round and round".The sessions for The Joshua Tree started in earnest in 1986, and U2 were recording at the Georgian mansion Danesmoate House in Dublin. The group attempted to take the song in a different direction, although Bono was reluctant. Under the direction of co-producers Brian Eno and Daniel Lanois, the Edge pursued more ambient guitar playing, Clayton turned up the volume on his bass, and Mullen experimented with an electronically enhanced drum kit. Despite the work they continued to put into the track, the group considered abandoning the song, as they could not find an arrangement they liked.Bono and his friend Gavin Friday continued to work on the song after Lanois and Eno declined to do so.[7] Bono credits Friday with rescuing the song and rearranging it, believing it could be a hit. Eno added a keyboard arpeggio, similar to the one from "Bad". The song's fate was still in doubt when the Edge was sent a prototype of the Infinite Guitar by Canadian musician Michael Brook, with whom he had collaborated for the Captive soundtrack. The instrument allowed sustained notes to be played, producing "a similar effect to the E-Bow", but with the ability to provide all the "mid-points between no sustain and infinite sustain" that the E-Bow cannot provide. The prototype included elaborate assembly instructions and as the Edge recollects, "one wrongly placed wire and you could get a nasty belt of electricity. This piece of gear would have failed even the most basic of safety regulations."On subsequent tours, his guitar technician occasionally received electric shocks from the instrument when preparing it for performances.Listening to the backing track to "With or Without You" in the control room, Bono and Friday heard the sustained effect that the Edge was creating with the Infinite Guitar in the other room. The combination of the two playing simultaneously caught their attention. According to Lanois, "I said, 'That sounded pretty cool,' so we listened back and I said, 'Jesus, it's better than I thought.'" The Edge immediately recorded an Infinite Guitar part in two takes.The band considers the song's recording to be one of the album sessions' breakthrough moments, as it was recorded amidst concerns that they had run out of ideas.Eno sequenced the song's electronic drum beat on the Yamaha DX7 synthesiser. Rather than connect it to the recording equipment via a DI unit and maintain the instrument's pristine sound, the producers plugged it into a Mesa Boogie guitar amplifier and then miked it to give the sound more personality. As a result, Lanois said it sounded "more like people playing in a room". The sequenced beat was chosen to give the song a feeling of discipline, so that when Mullen's acoustic drums enter the song, "they mean something", in Lanois' words.Producer Steve Lillywhite was hired by U2 in December 1986 to help mix some songs for The Joshua Tree;[10] "With or Without You" was one of them. While Lillywhite and engineer Mark Wallis were mixing it, Eno entered the room and told them that he wanted to change the introduction. Wallis said: "And it was kind of awe-inspiring because he said, 'Right, send this guitar through those ten effects over there and send that guitar through those ten effects over there and then feed them back to each other.' So what started as a traditional bit of rhythm guitar, bass, and drums suddenly became something quite otherworldly and spiritual, and the sound of the music you were hearing started to give you a feeling of where the song was going to go prior to the lyric. I thought that was really visionary." Ultimately, "With or Without You" was the most debated song of those on which Lillywhite worked, as Eno and Lanois each had ideas different from his. Lillywhite, who wanted a more mainstream approach to his mix, favoured "a little more crash, bang" sound to Mullen's drums that enter later in the song, while Eno preferred that the drums remain "more mysterious and more supportive".Bono wrote the lyrics during his first night visiting Côte d’Azur in 1986, while struggling to reconcile his responsibilities as both a married man and a musician.

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Student 2 :Johnroel Galgo

tongatongs are used by the people of Kalinga to
communicate with spirits,particularly as part of healing rituals. In modern times, they are also played recreationally as part of an ensemble.
The tongatong is played by young boys and girls for entertainment and relaxation. The same instruments serve a different purpose during rituals, dawak, for curing the sick or driving away evil spirits. The tubes are sounded to accompany the medium as she dances around the sick person.

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“Rape and Massacre in Ermita” by Diosdado M. Lorenzo

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“Rape and Massacre in Ermita” by Diosdado M. Lorenzo

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The painting shows us how the Japanese Military has done to the women in the Philippines.

Natasha Jane Samson- It is known to be the largest artwork of Diosdado M. Lorenzo. It was painted during 1947, a time wherein we are colonized by the Japanese Government during World War II. It was said to be inspired by the 1945 Battle of Manila, which depicts a terrible or an unpleasant scene of a family being massacred at their own house in Ermita. A woman, who could be the mother, was fighting with a Japanese soldier. She was holding a knife trying to protect and defend herself from the rapist soldier while her breasts were being exposed. Her family was being murdered right in front of her eyes but she can do nothing more about it. For me, it is the central object of this painting. The woman was wearing a white cloth that symbolizes mourning in China or some parts in Africa. It is also called ‘white mourning’ France. The artist, Lorenzo, has used a lot of colors because clothing colors carry a lot of emotions and each color represents a mood. He may have used the color white because he wants to show that the woman was mourning and weeping for the loss of her family. The soldier, however, was painted in color blue. Blue may be known to be the warmest color but in this painting, it means superiority. The soldier acts superior towards the woman. He seems to be the general or the one with the higher rank against the other soldier. Behind them was a man lying on the floor covered with blood which seems to be the father of the family. He was pitilessly stabbed by another Japanese soldier. The soldier was painted in color green. Green means envy, greed and revenge. They are greedy because they want to colonize the Philippines. They are using all their powers because they want to own and make us servants in our own country. On the left part of the painting comes with a baby inside the crib, crying and helpless. In the upper left part was an altar with rosaries on the side. This may symbolize how religious Filipinos are during this time. Lorenzo defined other elements in this painting with clear straight lines making the painting easy to look at and figure out.

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"Rape and Massacre in Ermita." by Diosdado M. Lorenzo - (Nikko P)

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"Rape and Massacre in Ermita." by Diosdado M. Lorenzo - (Nikko P)

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With bright and striking colors—a style of Diosdado M. Lorenzo is known for, this particularly pertains the image of violence that immediately catches your attention. It depicts a typical scenario during World War II where Imperial Japanese soldiers attack a Filipino home in Ermita. Lorenzo showed with harrowing clarity how Filipino men were slain, women were raped, and helpless children were orphaned when Japanese soldiers attacked.

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"Kilusan ng Paglaban sa Pilipinas" by Manuel Rey Isip

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"Kilusan ng Paglaban sa Pilipinas" by Manuel Rey Isip

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(Myka Mendoza)

On 1944, the Fighting Filipinos' poster was drawn by Manuel Rey Isip and the Philippine Government-in-Exile produced 15,000 copies. During the Japanese occupation of the islands in World War II, there was an extensive Philippine resistance movement (Filipino: Kilusan ng Paglaban sa Pilipinas), which led to the opposition of the Japanese and their collaborators with active underground and guerrilla activity that increased over the years.

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Karaniwang  Araw by Emmanuel Garibay, 1994

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Karaniwang  Araw by Emmanuel Garibay, 1994

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The painting depicts the pace and hustle of the slums and streets of Manila. It provides the vision of a usually portrayed as cramped up area of lost opportunities and the like. But the artist was able to twist it into a vast and busy community.

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''Kilusan ng Paglaban sa Pilipinas'' by Manuel Rey Isip

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''Kilusan ng Paglaban sa Pilipinas'' by Manuel Rey Isip

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(Jethro Alberto)
The Poster was depicted for the Philippine Resistance Movement against the Japanese which is why the artwork shows a man’s figure  holding the Philippine Flag as he fights for the Filipinos’ freedom.

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A remembrance of the Villa Borghese by Fabian de la Rosa 

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A remembrance of the Villa Borghese by Fabian de la Rosa 

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(Mikhail S. Dela Cruz)

Date -1909
Medium - oil on canvas
Dimensions - 43 x 56 cm
Object History:  sold at Christie's, Hong Kong, 26.10.2003, lot 29

More about the painting:
The painting is a luscious yet mysterious view of a lake, partly obscured by foliage in the foreground. Enchanting details emerge as one is hauntingly drawn deeper and deeper into an image that is not simple as it first appears. The painting was dedicated to Dr. Bautista Lin and it brought to mind a lavish personal record from a grateful artist to an old friend and patron. It is also a homage to the painterly skills of his old friend Juan Luna.

More about the artist:
Fabian de la Rosa was referred to as the most 'Filipino' of the triumvirate and he fiercely believed that art was a way of being Filipino. He was also known as the swordsman and spinner of dreams, soldier and patriot. He was perhaps one of the most fascinating and most enigmatic figures of the turn-of-the-century triumvirate.

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Student 2: Victoria Esteban

It is a set of eight gongs made of bronze, on a wooden stand in the shape of a sarimanok. Accompanied by one larger gong and two drums. The eight small gongs differ in pitch but the height of the tone is not fixed and can differ per set. The number of large gongs can vary from one to several gongs of different pitch and size. The drums, the stand, and the frame are all quite roughly made but elaborately decorated with colorfully painted wood carvings, called okiran.
The picture shows the dimension of the whole set, the length of the sarimanok-shaped stand is 2,60 mtr, from head to tail.

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The novel El Filibusterismo was written and interpreted by Jose Rizal. It tackles about the unjust government practices held by the Spaniards during the time of Spanish Colonization in the Philippines. The main character, Simoun, is determined to gain the trust of the people of authority; only to betray them for his desire of avenging the death of his significant other and for the inequitable actions done by the government to the public which happened during the sorrowful events in Jose Rizal's previous novel, Noli me Tangere.

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Sa kabanatang ito, itinatalakay ang pagiging di makatarungan ng Heneral sa pamamagitan ng pagiwan ng isa sa mga nabilanggong estudyante upang maligtas ang karangalan ng kapangyarihan nito. Ang naiwan sa bilangguan ay si Basilio, isang magaaral na pinagbintangan ng Heneral na gumagamit ng bawal na aklat ng medisina. Sumagot ang Mataas na Kawani sa desisyon ng Heneral at ang sabi niya’y “Palagay ko po’y ang binatang iyan ang siyang lalong walang kasalanan” ang sagot naman ng Heneral “Lalong mabuti. Sa ganya’y lalong magiging mainam na halimbawa upang katakutan ng iba ang magiging kaparusahan. Madalas na kailangang pasakitan ang isa para sa kagalingan ng marami.” Ipinapahiwatig dito na ang Heneral at ang mga taong nasa posisyon ng gobyerno ay hindi dapat matakot sa kanilang bayan dahil nagamit na nila si Basilio bilang halimbawa ng kaparusahan ng kung sino mang gagawa ng aksyong hindi ikatutuwa ng Heneral. “Ikaw nga ay hindi inihalal ng bayang Pilipino kundi ng Espanya. Ito ay sapat nang dahilan upang tingnang mabuti ang mga Pilipino. Nang ika’y pumarito sa Pilipinas ay nangako kayong mamamahala alinsunod sa katarungan. At ngayo’y pinaglalaruan natin ang buhay at kalayaan ng kanyang mamamayan.” Sagot ng Mataas na Kawani kay Heneral. Dugtong pa nito ay ang kanyang pagsabi na ang mga mamamayan ng Pilipinas ay maghihimagsik balang araw. At mas nais pa niyang mamatay nang dahil sa mga niyayakapang karapatan ng mga naaapi kaysa magtagumpay sa piling ng mga hangaring ikagagaling lamang ng Espanya.
Matapos ang pakikipagtalo ng Mataas na Kawani at Heneral, kinausap ng Mataas na Kawani ang isang mamamayang tagabantay ng koreo. Wika niya dito “Kapag dumating ang araw ng inyong kalayaan, tandaan niyong may mga tao sa Espanyang tumibok ang puso dahil sainyo at para sa karapatan ninyo.”

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"I saw the Fall of the Philippines" by Colonel Carlos P. Romulo

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"I saw the Fall of the Philippines" by Colonel Carlos P. Romulo

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Shannen Lizardo
Type: Literature
Col. Romulo is a Filipino newspaper publisher gives a vivid, first-hand description of the Japanese attack and of the gallant defense of the islands against hopeless odds on Bataan. Published on January 1, 1942.