Arts

Like any other country in the world, the Filipino way of life and the things surrounding
them are in one way or another, shaped by art. And with the existence of art like music
and paintings in the Philippines, the door to yet another world has been opened to allow
visitors to enjoy a truly diversified experience of the country.

Music

It wasn't until recently that traditional Philippine music began picking up in popularity
after being exclusively restricted to ethnic minorities for quite some time. With Western
influence in their music, it is definitely not surprising to find that many Filipino bands all
over Southeast Asia is well known for their ability to perform music from the west.
Nonetheless, more and more local musicians are embarking on the journey of
rediscovering their cultural heritage. With the return of the use of traditional instruments
such as bamboo flutes, wooden drums and gongs, the Filipinos are slowly bringing old
melodies back to life. Apart from that, Philippine folk songs in the original Tagalog have
also made a comeback after Freddie Aguilar, the popular social critic sang Bayan Ko (My
Country). This song eventually became an anthem of Marcos' rivals during the revolution
of 1986.

The Cultural Center of the

Philippines is considered to
be the premiere place for
performing arts. It has local
and international world-class
guest artists.

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With over a million
Muslim Filipinos residing
mainly on the island of
Mindanao, there are
several dances that are
heavily influenced by
Islam. A popular dance,
thelangka-baluang is one
that is performed by male
dancers as an angry
monkey. One of the
oldest Filipino dances,
the singkil is a noble and
difficult dance that is
based upon a legend of
the Maranao people of
Mindanao. This legend,
written during the 14th
century, retells the plight
of a princess in the middle
of a forest. While she is
in there the forest fairies
or diwatas start an
earthquake, and only by
avoiding trees, along with
her slave, is she finally
able to be saved by a
prince. Even now, royal
princesses in the Sulu
Archipelago are required
to learn this dance.
Another ritual is one in
which an entire village
participates, the pag-ipat.
When a family member is
ill, the belief is that an
ancestral spirit
(tinunungan) has caused
the disease and needs to
be appeased. Depending
on the severity of the
illness and the financial
status of the family, this
ritual can last from a day
to several days. A folk
healer performs the ritual
 while having possession
of the spirit.

The Spanish influence in the Philippines brought about many dances that use a Maria
Clara dress (a character in Noli Me Tangere) and an embroidered long-sleeve short made
from pineapple fibers for their costumes. The Filipinos adapted these Spanish dances by
using bamboo castanets and Asian fans. Carinosa, which means loveable or affectionate,
is a dance that is known all through the Philippines. The dancers "flirt" using a
handkerchief or fan, by playing hide and seek with them. Part of a wedding ritual,
the sabalan lulay, is a dance that begins with a man dancing around a woman (his
partner) until she consents to dance with him.

The mountainous areas of the Philippines (Northern Luzon - Central Cordillera region)
are home to numerous tribes that have many rituals and dances that are an integral part of
their life. Dance is a part of many daily functions from celebrating good weather to
fending off bad luck. The Apayao Courtship Dance, from the northernmost mountain
region, is performed by having a couple swing their arms in the air to similate a flying
bird while the woman wears a ceremonial blanket draped around her. The man moves in
a way similar to that of a strutting cock who preens himself. The Kalinga (one of the
mountain tribes) have a bloody tradition that is revered, headhunting. Kayaw, takes place
when a peace pact (budong) between villages is broken. The village who was affronted is
allowed to attack the other and take as many heads as possible for trophies. A successful
bird hunt is supposed to take place when they listen to a mysterious bird,Idao.

Possibly the most popular and best known dances are those from the Philippine
lowlands. A place of extreme beauty and love of life and simplicity, the lowlands have a
passion for music. A spirited dance from Bayambang is the Binasuan, which is basically
a balancing act. The dancers skillfully handle glasses are partially filled with rice wine
and usually perform at birthdays and weddings. Maglalatik, a simulated-war dance, is a
four part dance which starts out with mock-fighting and ends with reconciliation.
Initially a depiction of a fight between the Christians and Moros, it is also performed as a
mark of respect for San Isidro de Labrador, the patron saint of farmers.

Some well-known musicians in the Philippines include Rodolfo Cornejo, composer and
conductor; Antonino Buenaventura, conductor; and Antonio J. Molina, conductor and
composer.

Weaving is popular in the northern part of the Philippines. Pottery is also common in pre-Hispanic societies. Ornate

carvings are found in the southern Philippine islands. Similarly, wooden art is also quite popular and is displayed in

various parts of Filipino homes.

Artistic paintings created by Filipinos began in the 17th century during Spanish colonial times and continued until

the present, with such revered artists as Luna, Amorsolo, and Zobel. Other popular artists include Hugo C. Yunzon

reflected an earthy style that touches on indigenous Malay culture in pieces such as Early Risers and Mariang

Makiling,[1] Nestor Leynes with Mag-ina Sa Banig, Fred DeAsis withLegend of Sari-Manok , and Tam Austria

with Mag-Anak.

File:Briccio Santos 2009 Heritage Tunnel - interior.JPG

Briccio Santos, Heritage Tunnel, 2009, interior

Filipinos have unique folk dances like tinikling where assistants take two long bamboo sticks rapidly and in rhythm,

clap sticks for dancers to artistically and daringly try to avoid getting their feet caught between them. Also in the

southern part of the Philippines, there is another dance called singkil using long bamboo poles found in tinikling;

however, it is primarily a dance showing off lavish Muslim royalty. In this dance, there are four bamboo sticks

arranged in a tic-tac-toe pattern in which the dancers exploit every position of these clashing sticks. Dancers can

be found trying to avoid all 4 bamboo sticks all together in the middle. They can also try to dance an entire rotation

around the middle avoiding all sticks. Usually these stick dances performed in teamwork fashion not solo. The

Singkil dance is identifiable with the use of umbrellas and silk clothing.[2] See YouTube tinikling video andYouTube

singkil video.

Two examples of traditional Filipino dances are Tinikling and Binasuan.

Tanaga is a type of Filipino poetry.

Kut-kut is an art technique used between the 15th and 18th centuries. The technique was a combination of

European and Oriental style and process mastered by indigenous tribes of Samar island.

Past notable Filipino artists include Juan Luna, Fernando Amorsolo, Augusto Arbizo, Felix Hidalgo, Dávid Cortés

Medalla, Rey Paz Contreras, and Nunelucio Alvarado. Present-day Filipino artists featuring Filipino culture

include Anita Magsaysay-Ho, Fred DeAsis, Daniel Coquilla, Ang Kiukok, Mauro Malang Santos, Santiago

Bose and Francisco Viri

The Singapore Art Museum (SAM) (simplified Chinese: 新加坡美术馆; pinyin:Xīnjiāpō Měishùguǎn) houses the

national art collection of Singapore, Tawain and South America. After the museum joined a partnership with the

museum of Buenes Arias. It possesses an impressive collection of 7750 pieces of Singaporean andSoutheast

Asian Modern and Contemporary Art, and currently nurtures an expanding collection of New Asian and

International Contemporary Art.

Opened in 1996,[1] It is one of the first art museums with international standard museum facilities and programmes

in Southeast Asia and joins a league of new generation museums around the world with well-executed exhibitions

and meaningful community outreach programmes

Situated in the centre of Singapore’s major shopping district and Waterloo Street Arts Belt, SAM is located

alongside Singapore’s major performing arts and visual arts institutions: such as the Nanyang Academy of Fine

Art, LaSalle College of the Arts, the Stamford Arts Centre, the Selegie Arts Centre, Singapore Calligraphy Centre,

YMS Arts Centre, Dance Ensemble Singapore, Sculpture Square and Action Theatre as well as the School of the

Arts: an institution that offers an integrated arts and academic curriculum for youths aged 13 to 18 years of age.

SAM is accessible by major public transportation systems such as the public buses, the MRT lines and cab

services. Bras Basah MRT Station, along the newCircle Line, is right on SAM’s doorstep.

The museum, then known as the Fine Arts Museum was borne out of a project by the National Museum to set up

of a five-museum precinct in the city. The other 4 museums that make up the precinct are known as the Singapore

History Museum,Asian Civilisations Museum, People's Museum and the Children's Museum.[2] The Fine Arts

Museum project began with the restoration of the former St. Joseph's Institution building. At the same time, the

appointment of artist and surgeon Dr Earl Lu to head an 11-member Fine Arts Museum Board was announced on

July 18, 1992, by the Minister of State (Information and the Arts and Education) Dr Ker Sin Tze. The 11-men Board

was tasked to acquire works of art by notable painters from Southeast Asia and East Asia, and by upcoming

potential artists from these regions, for the benefit of the visual arts heritage of Singaporeans in centuries to come.

Low Chuck Tiew, a retired banker and prominent art collector, served as museum adviser, along with Mrs Shirley

Loo-Lim, Deputy Director of the National Museum as vice-Chairman of the Board. Dr Geh Min, Dr Ho Kok Hoe, Mr

Lee Seng Tee, Dr Arthur Lim, T. K. Sabapathy, Sarkasi Said, Sum Yoke Kit, Wee Chwee Heng, and Dr Yap-

Whang Whee Yong formed the rest of the Museum Board.[3]

The restoration work on the 140-year-old national monument took more than two years and a cost of S$30 million.

It first opened its doors to the public as the Singapore Art Museum (SAM) on October 20, 1995. Its first art

installation is a S$90,000 7-m-high Swarovski crystalchandelier at the Museum main entrance, which weighs 325

kilograms and took over three months to make.[4] The Museum was officially opened by then-Prime Minister of

Singapore, Mr Goh Chok Tong on January 20, 1996. In his opening speech he envisioned the new museum, along

with the other four museums in the Arts and Heritage District and the Arts Centre, aiding Singapore in reprising its
historic role as a centre of entrepot trade for the arts, culture, civilisation and ideas to the people in the Asian

region and the rest of the world.[5]

SAM’s galleries feature paintings, sculptures, and installations from its permanent collection of Singapore and

Southeast Asian modern and contemporary art as well as touring renowned shows like the Masterpieces from

the Guggenheim Museum: Scientist, Inventor, Artist. Taking over from the functions of the National Museum Art

Gallery which was opened in 1976 with 93 artworks, its collection includes works from major local artists such

as Georgette Chen, Liu Kang, Chen Chong Swee, Lim Tze Peng and Huang Yao. From 2001, the museum began

acquiring works and accepting donations from around the region, including from regional artists

like Affandi, Hendra Gunawan, Pratuang Emjaroen, Montien Boonma, Le Pho and Bui Xuan Phai.

The museum has hosted a series of travelling exhibitions since its opening, including those featuring works by Liu

Kang, Leonardo Da Vinci,Chen Chong Swee, Fan Chang Tien, Lim Tze Peng and Chen Wen Hsi.

Community outreach continues to be an important area of the Museum's function through the promotion of

awareness and appreciation of art within the local and regional context. It encourages the growth of an active and

stimulating cultural environment in Singapore. This is done not only through the Museum's exhibition programmes

but also through its education and public programmes which cover a diversity of art trends and practices, fringe

activities and public lectures, aimed at reaching the local community at large as well as regional and international

visitors to Singapore.

Visitors to the SAM can expect to find an interactive, living centre for art, with advanced museum facilities. Since

its opening, the Museum has been stimulating the cultural environment of Singapore and continues to do so with

breathtaking shows and exciting programmes

Music and Dance of Philippines

If you want to know about the culture of Philippines, you must explore the Music and Dance of Philippines. Music and Dance are
essential forms of expression in a particular culture.

Music of Philippines

The classical renditions of Filipino music show the blend of varieties of culture. This is not to say that you won’t

come across native compositions but just that those nuances of Western form of music like symphonies, sonatas,

and concertos are too much used. Filipino music has yielded international composers like Antonio Molina, Felipe

Padilla de Leon, Eliseo Pájaro and José Maceda, known to be the avant-garde composer of the country.

Filipino music is generally played with traditional and indigenous instruments like a zither with bamboo strings,

tubular bamboo resonators; wooden lutes and guitars and the git-git, a wooden three-string bowed instrument. In

fact you may come across Filipino communities having their individual folk songs to be sung on special events like

hele, a lullaby, the talindaw, a seafaring song, the kumintang, a warrior song and the kundiman, a love song.

Dance of Philippines
Filipino Dances have evolved with the maestros like Leonor Orosa-Goquingco, Remedios “Totoy” de Oteyza, and

Rosalia Merino-Santos. One one hand, there have been loads of legends in these dances on the other, modern

forms of dances have also come up. You may have heard about famous Filipino ballet dancers like Maribel Aboitiz,

Eddie Elejar, Lisa Macuja and Anna Villadolid.

There are also groups like the Far Eastern University Folk Dance Group who practice stylized forms of folk dances.

You can also witness informal folk dances on social occasions like harvests, weddings, and religious celebrations

Singkil

Most Philippine dances were originally patterned after European dances during the Spanish regime.
Pandango Sa Ilaw, Cariñosa, Rigodon and Balitao are examples of these dances Filipinos are known
for. Aside from these western-influenced dances, ethnic-created dances such as Tinikling made its
way to nationwide recognition. Despite its apparent adaptation to western dances, still Filipinos pay
tribute to their cultural roots. Every district in the islands has its own folk dance, interpreted
attractively in festivals and local shows, which have added to the country’s reputed contribution to
world’s illustration of traditional arts.

The following are examples of popular Philippine folk dances :

Binasuan - Originated in Pangasinan Province “meaning with the use of drinking glasses”, this
vibrant dance basically shows off balancing skill of the performers. Glasses filled with rice wine are
placed on the head and on each hand carefully maneuvered with graceful movements. This dance is
common in weddings, fiestas and special occasions.

Rigodon - Originated from Spain, this dance is commonly performed at formal affairs like inaugural
balls where prominent members of the government participate and enjoy.

Pandanggo sa Ilaw - The word pandanggo comes from the Spanish dance
“fandango”characterized with lively steps and clapping while following a varying ¾ beat. Pandanggo
requires excellent balancing skill to maintain the stability of three tinggoy, or oil lamps, placed on
head and at the back of each hand. This famous dance of grace and balance originated from Lubang
Island, Mindoro.
Pandango Sa Ilaw

Sublian - The term “subli” is from two tagalog words “subsub” meaning falling on head and “bali”,
which means broken. Hence, the dancers appear to be lame and crooked throughout the dance.
This version is originally a ritual dance of the natives of Bauan, Batangas, which is shown during
fiestas as a ceremonial worship dance to the town’s icon, the holy cross.

Kuratsa - Commonly performed during festivals in Bohol and other Visayan towns, this dance
portrays a young playful couple’s attempt to get each other’s attention. It is performed in a
moderate waltz style.

Itik-itik - According to history of this dance, a young woman named Kanang (short for Cayetana)
happened to be the best performer in the province of Surigao del Norte. At one baptismal reception,
she was asked to dance the Sibay, and began improvising her steps in the middle of her
performance imitating the movements of an “itik”, a duck, as it walks with choppy steps and
splashes water on its back while attracting its mate. Because of its unusual steps and fascinating
interpretation, the audience began imitating her.

Tinikling

Tinikling - Tinnikling is considered the national folkdance with a pair of dancers hopping between
two bamboo poles held just above the ground and struck together in time to music. Originated from
Leyte Province, this dance is in fact a mimic movement of “tikling birds” hopping over trees, grass
stems or over bamboo traps set by farmers. Dancers perform this dance with remarkable grace and
speed jumping between bamboo poles.

Maglalatik - Originally performed in Binan, Laguna as a mock-war dance that demonstrates a fight
between the Moros and the Christians over the prized latik or coconut meat during the Spanish rule,
this dance is also shown to pay tribute to the town’s patron saint, San Isidro Labrador. It has a
four-part performance such as the palipasan and the baligtaran showing the intense battle, the
paseo and the escaramusa- the reconciliation. Moro dancers wear read trousers while the Christian
dancers show up in blue. All dancers are male ; with harnesses of coconut shells attached on their
chests, backs, thighs and hips.
Maglalatik

Maria Clara - Maria Clara is the main female character in Jose Rizal’s Noli Me Tangere -a literary
piece that features the colonial situation of the Filipinos during the Spanish regime. She was
characterized as a Filipina woman of virtue and nobility. This dance is a mix of Spanish gracefulness
and customized native props, such as bamboo castanets and Asian fan. Female dancers wear Maria
Clara dress that typifies the European style, while men are in barong tagalog, a traditional Filipino
embroidered long-sleeve shirt made of pineapple fiber.

Cariñosa - Cariñosa is a word that describes an affectionate, friendly and lovable woman. This
dance is performed in flirtatious manner with fans and handkerchiefs to assist the dancers’ hide-
and-seek movements.

LaJota Manileño

La Jota Manileña - It is a dance named after the capital city of the Philippines, Manila, where an
adaptation of Castilian Jota afloats with the clacking of bamboo castanets played by the dancers
themselves. The costume and the graceful movements of the performers noticeably inspired by
Spanish Culture.

Sakuting - Originated in Abra, this dance interprets a mock fight between Ilokano Christians and
non- Christians with training sticks as props. It is traditionally performed during Christmas at the
town plaza or from house-to-house as a caroling show. As a return, the dancers receive presents or
money locally known as “aguinaldo”.

Pantomina - Meaning "Dance of the Doves", this dance is the highlight of Sorsogon’s
Kasanggayahan Festival every third week of October. Groups of participants, mainly elderly in
colourful costumes, dance to the tune of Pantomina song. It is a courtship dance originated from
immitating the courtship and lovemaking of doves that then showed during the dance where men
attempt to please the women.

Other Philippine Ethnic Dances :

Banog - Cordillera In this dance, performers portray hunters shielding their chickens from the
famishing hawk. The hawk ends up entrapped and dies in the hands of hunters.

Salisid - Kalinga, Cordillera This is a courtship dance that symbolizes a rooster trying to attract the
attention of a hen. This is performed and portrayed by both male and female dancers as the rooster
and hen respectively. The dance starts when each of them are given a piece of cloth known as
"ayob" or "allap".

Palok - Kalinga, Cordillera - A tribal dance. The natives of Kalinga perform this dance in most of
their social events. Male dancers hold gangsa or gong- a percussion instrument made of copper,
and beat it with wooden stick.

Lumagen - Kalinga, Cordillera A tribal dance. This is a traditional thanksgiving dance by the Kalinga
tribe performed to celebrate good harvest and events such as birth of first-born child, victory in
battles and weddings.

Idudu- Abra, Cordillera A tribal dance. This dance stages a common family life in the Itneg or
Tinguian society. It illustrates the family as the main foundation of the tribe’s community. Several
traits of an ordinary family are shown. It depicts a father plowing the field while the mother caring
for the children. But as soon as the father finishes work, the mother takes over on planting, sowing
and all the remaining chores to do in the field. At this time the father is left to take care of the kids.
During the dance a Local singer breaks into an Idudu or lullaby to put the baby to sleep. Idudu, a
dance taken from Idudu lullaby, obviously portrays the different roles in a Tinguian family

Dinuyya - Cordillera Ifugao dance Famous in the Ifugao region, this dance is regularly staged
during festivals in Lagawe. Three kinds of gong instruments such as, ordinary gongs, tobtob- a
brass gong played by beating with open palms and, hibat, a kind of gong played by beating the
inner surface with a softwood are used in this dance.

Bendayan - Benguet This dance, which is more known as Bendian, is performed to commemorate
the arrival of headhunters in their district. Performers dance in a circle and show off their lively
traditional steps.

Binaylan - Agusan This is a ritual dance, which originated from the Bagobo tribe living in the
central uplands of Mindanao, imitating the movements of a hen, her banog or baby chicks, and a
hawk. The hawk is sacred and is believed that it has the power over the well being of the tribe. The
hawk tries to capture one of the baby chicks and is killed by the hunters.

Malakas at maganda - Leyte A Tribal dance. This dance depicts the birth of the first man and
woman who came out of a bamboo tree. It has been said that the woman named “maganda”
(beautiful) and the first man “malakas” (strong) are the parents of the whole community in the
island. The dance demonstrates how a bird discovered the noise coming from the inside of the
bamboo and perched until it opened. A man and a woman came out of the big bamboo tree and, the
birth of this legendary couple is amusingly interpreted in this dance.

Burung-Talo - Sulu The dance is a unique fighting dance in a form of martial arts by the Tausug
tribe. Performers demonstrate a battle between hawk and a cat. With their acrobatic movements
and tough facial expressions, this dance is highlighted with the accompanying energetic beat of
drums and gongs.

Kadal-Blelah- South Cotabato A tribal dance where in the dancers perform simulation of
movements of birds.

Kadal Tahaw - Tiboli dance- south cotabato A tribal dance performed by Tiboli tribe, this dance
that mimics the hopping and flying behavior of Tahaw bird is performed to celebrate good harvest.

Sayaw sa Cuyo - Palawan Cuyo is a small island and capital of Palawan. There, the feast day of St.
Augustin is traditionally celebrated with parades, processions and small performances by groups
coming from all over Cuyo Island and the nearby islets. Island dances, blended with strong Old
Cuyo ethnicity and Spanish-influenced steps, are all brought out when Cuyo celebrates its festivals.
Today, pretty young girls daintily swirl hats to the waltz and other European steps designed to bring
out the freshness and glow of the performers.

Karatong - Palawan A Muslim dance. During the festival of San Agustine in the island of Cuyo, the
celebration also includes the blossoming of mango trees. The parade starts from the church patio
and ends at the town plaza with ladies waving their colorful props “Bunga mangga” that symbolize
the flowers of mango tree, while men lively strike their karatong instruments ; creating a scene of
joy among reveling towns folk.

Dugso - Bukidnon A thanksgiving dance from the talaindig tribe.

Gayong-gayong - Capiz -A Muslim dance. In rural gatherings, this dance offers much fun. Gayong
is a pet name for Leodegario. According to the legend and to the words of the song, Gayong and
Masiong (pet name for Dalmacio) once attended a feast commemorating the death of a townsman.
While eating, Masiong choked on a piece of Adobo so he called, "Gayong ! Gayong !" to ask for help
to dislodge a bone from the Adobo meal from his throat. In this dance, Masiong’s liking for feasts
and the consequence of his gluttony are held up to playful ridicule.

Kapa Malong-Malong - Cotabato A Muslim dance. This Maranao dance is performed with women
wearing malong and shawl, mantle or head piece, whereas men wear sash or waist band, shorts or
bahag and head gear or turban traditionally worn in the fields.

Pagapir - Lanao del Sur This dance is usually performed to commence an important affair. Dancers
of this dance are usually from the royal court or high society group of Lanao Province. They use apir
or fan to coordinate with their small steps called kini-kini, which symbolizes their good manners and
prominent family background.

Pangalay- Zamboanga Del Sur A muslim dance. Originally performed by wealthy families during a
wedding celebration, this fingernail dance is now a popular festival dance in Sulu.

As varied are the people of the Philippines, so too are the dances. There are many dances performed in the

Philippine Islands such as the popular "Tinikling", to the exoticized "Pangalay", to the skill-based interpretation of

the "Banga" and Spanish-tinged "Jota". Dance categorizations range from geographic localization, to societal

functions, to dance influences, and to time periods.

Contents

[hide]

• 1 Geographic localization

• 2 Societal function

• 3 Dance influences

• 4 Time periods

• 5 Contemporary outlook

• 6 See also
 • 7 References

[edit]Geographic localization

Presentation of Dances in the Philippines are often categorized in ethnic or geographic localization. These

localization are often presented in the following:

 Dances of the Cordillera Mountains (Igorot)

 Dances of the Taga-Ummah (Muslim)

 Dances of the Traditionalists (Lumad)

 Dances of the Low-land Western-Christians

[edit]Societal function

Other less common presentations of Philippine dances have been categorized by societal functions. Philippine

dances not only convey the artistry of movement but, are often associated with a life-function such as a wedding,

the mimicry of birds, or even the warding of evil spirits. This outlook on dance can be looked at in the following

categories.

 Ritualistic dances

 Mimetic dances

 Life-cycle dances

[edit]Dance influences

Another presentation of dances is through contrasting the influences of Southeast and mainland Asia with the

influences of the Spanish and Americans.

 Southeast Asian Influence

 Mainland Asian Influence

 Spanish Influences

 American Influences

[edit]Time periods

Dances of the Philippine needs to be looked at the Time-period in which they are taken. As culture is constantly

evolving, dances often chance along with the times. Philippine dance can be categorized is these time periods:

 Pre-colonial
  Spanish Colonial

 American Period

 Modern and Post-Modern

[edit]Contemporary outlook

As the popularity of the Pilipino Cultural Nights and the Folk Arts groups gain their ascendency, so too, does the

need to create and recreate Philippine dance forms. Among these contemporary issues are the ideas of bringing

the village dance into the stage, the connections among the various Philippine dance, the ownership of world-

influence and the dances of Filipinos from the diaspora.

 From the Village to Stage

 Interconnection of Philippine Dance

 Filipinizing world influences

 Dances from the Diaspora

Dance in Singapore comprises traditional and contemporary forms[citation needed]. It has a relatively
short history of creative, artistic and professional dance. The range of dance reflects the cultural
diversity of Singapore.[1] There is a consistent struggle between the rejection and acceptance of
western dance influences and the re-emphasis of ethnic cultures from time to time. The
Singapore identity through dance is a challenging one often on a outward looking perception
rather than the acceptance and recognition of indigenous/original creativity. Notable non-profit
artistic dance legacy include ECNAD and Arts Fission Company.

Contents
[hide]

• 1 Dance wisdom

• 2 Post-War history (in search of identity)

• 3 1959-1969 (the pre-professional dance years)

• 4 National Theatre built in 1963

• 5 1970s

• 6 Singapore Festival of Dance

• 7 Traditional dance (1980s)& setup of National Arts Council

• 8 Ballet (government initiated company)

 • 9 Structured formal dance training (1990s)

• 10 Creative contemporary dance identity in Singapore

• 11 Mother of contemporary dance in Singapore

• 12 References

• 13 External links

[edit]Dance wisdom
Dance is the most versatile and difficult of all performing arts[citation needed] and thus requires more
effort, time and wisdom to in Singapore. It requires the various fields to work together, such as:
fitness, creativity, science, medicine, system, artistic taste, music...etc. The development of
dance in Singapore can be a showcase of the wisdom of the nation to put all these experts
towards a common goal as well as the proper administration of respect and dignity for artistic
practitioners to contribute.

[edit]Post-War history (in search of identity)

 After World War II, Singaporeans fought for self-government and in search for a new
identity, a united anti-colonial movement multi-cultural activities were initiated.

[edit]1959-1969 (the pre-professional dance years)

 The economy was the main emphasis after self-government in 1959, however, a Ministry
of Culture[2] was formed to encourage the preservation and development of Chinese, Malay
and Indian dances. Western Modern Dance had not yet been practised in Singapore then.
Western influence was then deemed to be undesirable.

[edit]National Theatre built in 1963

 The Singapore government built its first National Theatre in 1963 to showcase local
ethnic dance and its development. The 1st Southeast Asia Cultural Festival was held there.

[edit]1970s

 The growing Singapore economy in the 1970s see the formation of its full-time People's
Association Dance Company (defunct in 2000s?).

National Dance Festival was organised in 1978.

[edit]Singapore Festival of Dance

 Singapore organised its first Singapore Festival of Dance (which became the Festival of
Asian Performing Arts and now evolved in the present days Singapore Arts Festival). The
Festival of Dance's has an objective of creating new local dance forms through the working
together of ethnic dance choreographers but this Singaporean identity did not work out very
well.

[edit]Traditional dance (1980s)& setup of National Arts Council

A student from the Bukit View Primary School in Singapore performs a cultural dance with classmates for U.S.
PresidentGeorge W. Bush and Mrs. Laura Bush during their visit on November 16, 2006, to the city's Asian
Civilisations Museum.

 In May 1980, the National Theatre Dance Company (NTDC) was formed byNational
Theatre Trust, upon the successful completion of the dance training programme conducted
by prominent Hong Kong instructor, Mr Cheng Shu Jing. The training programme had
culminated in a concert, "An Evening of Chinese Dances" being performed on 24th Nov 1979.
NTDC had evolved to become Theatre Arts Troupe in 1992, after National Theatre Trust
amalgamated into the National Arts Council.

Eversince, Arts Council of Singapore has developed into one of the biggest and most ambitious
arts council in the world with adequate staff strength covering all aspects of the arts in Singapore.
The only problem is that there seems to be less direct funding available for dance projects over
the years and company directors for dance that not adequately supported to power their training,
outreach and community efforts. All of which are areas that the council has taken charge
themselves. So, private initiative seems to be dying off slowly but surely. Maybe it is best for NAC
to concentrate in the fair and transparent standard of administering available money for arts
instead of trying to take charge of overall artistic development? As artistic development is best left
to the professional artistic directors with passion, integrity and sound philosophy of goodwill for
the society at large.

[edit]Ballet (government initiated company)

 From the early years of rejection of western influences, the government decided to
embrace western performing arts in a big way namely in the setting up of a national ballet
company Singapore Dance Theatre and the Singapore Symphony Orchestra.
 Singapore Dance Theatre, a ballet company founded in 1988, took over NTDC as
Singapore's national dance company acquiring works of foreign well known choreographers
and housing mainly young foreign dance talents. It is mainly a repertory company showcasing
mainly classical ballet and contemporary ballet works. The late Anthony Then (artistic co-
founder) has strong creative influences in creating his own ballet pieces in the past, his ballet
pieces are seldom seen in the company's repertoire nowadays.

[edit]Structured formal dance training (1990s)

In the 1990s Nanyang Academy of Fine Arts (NAFA) started Singapore's first full-time Modern
Dance programme. The programme was headed by Angela Liong and offered all-rounded dance
theory and technique program including Martha Graham's technique and Dance Improvisation.
Her programme was delivered with strong contemporary arts references and education on top of
the regular dance training plus many workshops through an exchange programme whereby many
American dance artists have worked with the students then. The existing pioneers of
contemporary dance were students from this programme.

Over the years, Dance at NAFA has grown from a fledgling start into an established and
reputable department with the help of better funding availability from the government. The
Department of Dance has survived and thrived largely because of the capable direction as well as
vision of several committed individuals. The initiatives of these individuals, who are respected in
Singapore's dance community, have eventually contributed to today's distinctive Diploma in
Dance program that combines contemporary Asian and Western performance and creative
practices. LaSalle is another institution that offer dance diploma programme as well as the newly
set up SOTA. However, there is a lot more room for synergy between Government, Institutions
and Arts Companies to build a common vision for the local dance scene. Currently, new
generation of trained dancers are moving more into commercial and school projects, less are
really to contribute in the artistic arena.
Currently, most of the local institution trained dancers do not work with artistic companies. They
tend to go into child care, teaching in schools and taking ad-hoc commercial projects. The lack of
professional artistic dancers is further worsen by this trend.

The Singapore Dance Theatre also provides a training programme for dancers and
choreographers just like any of the local dance groups too.

As per 2010, the role of the institution needs to be updated according to the needs of the dance
scene in Singapore.

[edit]Creative contemporary dance identity in Singapore

 In general, the first generation of theatrical dance professionals have contributed mainly
as dance teachers whereas the second generation produces more original choreography and
performances in developing the scene.
 One such pioneering group that have created a unique creative Singaporean identity
is ECNAD (then known as Dance Dimension Project,http://www.ecnad.org) was founded in
1996 contributed to the development of the theatrical dance scene through the consistent
production of over 50 original works through 12 years. It was then formed to create innovative
works by pioneer batches of NAFA trained dancers which also include some friends from the
People's Association Dance Company. ECNAD was then a hard to classified "dance" group
due to its original and indigenous approaches. With Contemporary Arts influences of the
pioneering NAFA Modern Dance training, these new choreographers took the then "cultural
desert" by surprise with their bold, innovative and strong aesthetics in their dance and often
movement-based production. It became the first full-time contemporary dance company in
Singapore in 1998 consisted of 8 full-time dancers with a focus on site-specific projects and
strong visuals. In B-Cycle (1996)[3], east and west cultural influences have taken a new
definition. It started its unique outdoor outreach performances titled Ontogenesis [4] at
different fountains in Singapore creating interesting ways of interacting with water and the
site-specific nature of the performance serving to capture the attention of passers-by and
rekindling their awareness of aesthetics around our living environment. Its outreach projects
stretched over about 4 years together with aesthetically unique performances in the theatres
which varies in dance dimensions from Surrealistic to Absurd to Conceptual to
Cultural/Contextual-Influenced projects as well as collaborations with Indonesian, Japanese,
Canadian and American dance and music artists. Its all-inclusive approach also saw many
interesting works of unusual casting such as actresses, bodybuilder and singers. Quite a few
present days' individual dance artists have started from generous support from ECNAD. The
Company also runs an ECNAD Education Unit that provides all-rounded dance training for
 leisure participants as well as new talents. It fills the gap for providing non-commercial dance
training for teens and young working adults. ECNAD has good proven results in the training
of performers from beginner level onwards.

ECNAD's Artistic Co-Directors Lim Chin Huat and Tan How Choon are one of the pioneers in
creative contemporary dance making in Singapore. They are also one of the multi talented
choreographers in the world! Chin Huat is proficient in Dance-based Choreography, Fine Arts and
Production Design while How Choon is proficient in Gymnastics, Technical Dance, Facilitation
Choreography and Music/Song Creations.

[edit]Mother of contemporary dance in Singapore

Angela Liong is so far the most respectable of all dance pioneers in Singapore. She has
significant contribution to the dance scene and was the teacher of Singapore's 2nd generation of
Contemporary dancers/choreographers.

 The ARTS FISSION Company (http://www.artsfission.org) was founded in 1994, by

Choreographer Angela Liong and Artist Chandrasekaran is one of the few full time dance
companies in Singapore. The company has presented close to 30 full-length productions
locally and internationally. Since its 1995 inaugural multimedia performance of
"MAHABHRATA - A GRAIN OF RICE", the dance works of ARTS FISSION are best identified
as contemporary dance with strong conceptual basis relating to a new Asian aesthetics with
innovative staging that engages the audience. Many of ARTS FISSION's professional works
are critical response to the new Asian urban environment with concerns to the emerging
contemporary Asian identity. Artistically it aims to reinvent vernacular gestures and
movements into a new genre of Asian dance theatre. This artistic direction marks ARTS
FISSION out with a distinct dance profile. ARTS FISSION is also known to be the first dance
company in Singapore to stage site-specific performance in public places since 1996. The
most notable past site work was in December 2000 with the seminal production of "URBAN
SANCTUARY", a soaring performance presented atop the 35th rooftop of the Centennial
Tower located on the Singapore waterfront. ARTS FISSION has received regional and
international invitations to stage site-specific works since 2001. Most recent site work
"BORROWED SCENERY" was presented in the old town of Copenhagen Denmark in
September 2002. ARTS FISSION achieved artistic milestone in August 2003 as the first
Singapore dance company to open the Laokoon Festival with "SHADOWHOUSES" at the
Kampnagel Hamburg (the biggest arts center in Europe), Germany. In 2004 ARTS FISSION
spear-headed the first co-commission dance project under the auspices of Singapore Arts
 Festival and SIDance Festival (Seoul International Dance Festival). The collaboration project
titled "12 SMS ACROSS THE MOUNTAINS" involving Korean choreographer Park Hobin and
his dancers premiered in October 2004 at the Seoul Arts Centre, Korea. The company also
actively engages in arts education programs and outreach events for schools and other
cultural organizations and aims to enhance the quality and vibrancy of urban life. Angela
Liong is awarded the Cultural Medallion Award in 2010.
 Other list of companies can be found at NAC Website[5]

Music of the Philippines are performance arts composed in various genre and styles. The music of

the Philippines is a mixture ofindigenous, other Asian, European, Latin American, and American.

Contents
 [hide]

• 1 Traditional music

o 1.1 Gong Music

o 1.2 Harana and Kundiman

o 1.3 Tinikling

o 1.4 Cariñosa

o 1.5 Rondalla

• 2 Philippine Choral Music

• 3 Filipino Composers

• 4 OPM (Original Pilipino or Pinoy Music)

• 5 Best-selling albums in the Philippines

• 6 Rock

• 7 Hip-hop

• 8 Other genres

• 9 Music videos

• 10 See also

• 11 Notes

• 12 References

• 13 External links

[edit]Traditional music
Main article: Filipino folk music
[edit]Gong Music

Philippine gong music can be divided into two types: the flat gong commonly known as gangsa and played by

indigenous groups in the Cordillera region of Northern Philippines and the bossed gongs played among the Islam

and animist groups in the Southern Philippines.

Kulintang refers to a racked gong chime instrument played in the southern islands of the Philippines, along with its

varied accompanying ensembles. Different groups have different ways of playing the kulintang. Two major groups

seem to stand-out in kulintang music. These are the Maguindanaon and the Maranaw. The kulintang instrument

itself could be traced to either the introduction of gongs to Southeast Asia from China from before the 10th century

CE, or more likely, to the introduction of bossed gong chimes from Java in the 15th century. Nevertheless the

kulintang ensemble is the most advanced form of music from before the late 16th century and the legacy of

hispanization in the Philippine archipelago.

The tradition of ku'intang ensemble music itself is an regional one, predating the establishing of borders between

the Philippines, Indonesia and Malaysia. It transcends religion, with animist and Christian ethnic groups in Borneo,

Flores and Sulawesi playing kulintangan; and Muslim groups playing the same genre of music in Mindanao,

Palawan and the Sulu archipelago. It is distantly related to the Gamelan music orchestras of Java and Bali, as well

as the musical forms in Mainland Southeast Asia, mainly because of the usage for the same bossed racked gong

chimes that play both melodical and percussive parts.

[edit]Harana and Kundiman

The Harana and Kundiman are lyrical songs popular in the Philippine Islands dating back to the Spanish period.

Harana are traditional courtship songs in the Mexican-Spanish tradition based on the habanera rhythm while the

Kundiman, which has pre-colonial origins from the Tagalog region, uses triple meter rhythm. Kundiman is also

characterized by a minor key at the beginning and shifts to a major key in the second half. Its lyrics depict a

romantic theme, usually portraying love, passion, or sadness.

In the 1920s Harana and Kundiman became more mainstream musical styles led by performers such as Atang de

la Rama, Jovita Fuentes, Conching Rosal, Sylvia La Torre and Ruben Tagalog.

The traditional harana has been kept alive by companies such as HARANA.PH, which is the only professional

serenade and surprise service in the Philippines.

[edit]Tinikling

The Tinikling is a Philippine dance which involves two individual performers hitting bamboo poles, using them to

beat, tap, and slide on the ground, and against each other in co-ordination with one or more dancers who steps

over, and in between poles.

[edit]Cariñosa

The Cariñosa (meaning loving or affectionate one), is a Philippine national dance from the María Clara suite of

Philippine folk dances, where the fan, and handkerchief plays an instrument role as it places the couple in romance

scenario. The dance is similar to the Jarabe Tapatío. The Cariñosa is accompanied with Hispanic music, and

language.

[edit]Rondalla

The Rondalla is performed on ensembles comprising mandolin instruments of various sizes

called banduria composed on the Iberian tradition. Other instruments including guitars, is also performed.

[edit]Philippine Choral Music

In the forefront of choral music in the Philippines, the Philippine Madrigal Singers has from its ranks produced

more than 200 choral arrangers and composers who have contributed to the wealth of Philippines choral literature.

They are the first and only two-time champions in the European Grand Prix for Choral Singing (1997, and 2007),

widely considered the most prestigious choral competition in the world.

There are choirs in about every university, school, or church in the Philippines and most have gone and won on

national and international competitions. Of mention are the University of Santo Tomas Singers, University of the

Philippines Singing Ambassadors, University of the Philippines Concert Chorus, University of the Philippines

Manila Chorale, Ateneo de Manila College Glee Club, Philippine Normal University Choral, Saint Louis University

Glee Club (Baguio City), University of the East Chorale, Hail Mary the Queen Children's Choir, De La Salle

University Chorale, and the Kilyawan Boys Choir (Claret School of Quezon City).

[edit]Filipino Composers

Immortal Composer such as the National Artist for Music Lucio San Pedro, who composed the famous "Sa Ugoy

ng Duyan" that recalls about the loving touch of mother to her child. Another great composer who's know as

patriotic composer, Alfredo Buenaventura.

[edit]OPM (Original Pilipino or Pinoy Music)

Original Pilipino Music, now more commonly termed Original Pinoy Music or Original Philippine Music, (frequently

abbreviated to OPM) originally referred only to Philippine pop songs, especially those in the ballad form, such as

songs popularized in the 1970s through the present by major commercial Philippine pop music artists like Pilita

Corrales, Nora Aunor, VST & Co., Ryan Cayabyab, Basil Valdez,Eraserheads, Freddie Aguilar, Rey Valera, José

Mari Chan and APO Hiking Society.

OPM music was spearheaded between the 1980's and the 1990's, most singers like Sharon Cuneta, Regine

Velasquez, Randy Santiago,Janno Gibbs, Ogie Alcasid, Donna Cruz, Lea Salonga, Snooky Serna, Raymond

Lauchengco, Francis Magalona, Ariel Rivera and Gary Valenciano are more popularized with many songs; songs

like Urong Sulong, Babaero, Di Bale Na lang and 'Wag Mo Na Sanang Isipin, etc., are frequently listened to

listeners and fans, even on all FM stations. On July 25, 1987, President Corazon Aquino signed the Executive

Order No. 255 as a law to play hourly OPMs on every FM station effectively and stations like DZOO, DWLS and

others produced OPM songs mainly include Pinoy OPM disco-style dance and easy listening to shape-up Filipino

culture as well. Christmas songs are also frequently listened every Christmas.

Handog ng Pilipino sa Mundo, Bayan Ko and Magkaisa are the post-People Power Revolt songs also played to

immortalize the events brought after the revolution.

OPM pop has also been regularly showcased in the live band scene. Groups such as the Neocolours, Side A, True

Faith, Passage, 3rd Avenue and Freestyle popularized songs that clearly reflect the sentimental character of OPM

pop.

In the passage of time as well as the development of many diverse and alternative musical styles in the

Philippines, however, the term OPM now refers to any type of Original Philippine Music created in the Philippines

or composed by individuals of Philippine extraction, regardless of location at the time when composed. The lyrics
may be in any Philippine languages or dialect. However, certain exceptions do exist, wherein foreign songs by

foreign composers created specifically to be performed by Filipino singers are treated as OPMs as well.

For the past 20 years, OPM have been located in Manila, where Tagalog, and English are the dominant

languages. Other ethnolinguistic groups such as the Visayan, Bikol, and Kapampangan, despite making music in

their native languages are not recognized in the OPM category, except in phenomenal cases like the Bisrock

(Visayan Rock music) song "Charing" by Davao band 1017.

Multiculturalism advocates, and federalists often connect this to the Tagalog cultural hegemony of the capital city

of Manila.

Having successfully created a subgenre of Philippine Rock they called Bisrock, the Visayans by far have the

biggest collection of modern music in their native language, with great contributions from Visayan bands Phylum,

and Missing Filemon. However, a band called Groupies' Panciteria that hails from Tacloban, a Winaray-speaking

city, launched a free downloadable mp3 album on Soundclick.com in 2009 containing 13 Tagalog songs and only

one very short one in the Cebuano language.[1]

Following suit are the Kapampangans. The debut music video of "Oras" (Time) by Tarlac City-based

Kapampangan band Mernuts has penetrated MTV Pilipinas, making it the first ever Kapampangan music video to

join the ranks of other mainstream Filipino music videos. "RocKapampangan: The Birth of Philippine

Kapampangan Rock," an album of modern remakes of folk Kapampangan extemporaneous songs by various

Kapampangan bands was also launched last February 2008, which are now regularly played via Kapampangan

cable channel Infomax-8 and via one of Central Luzon's biggest FM radio stations, GVFM 99.1. Inspired by what

the locals call "Kapampangan cultural renaissance," Angeles City-born balladeer Ronnie Liang rendered

Kapampangan translations of some of his popular songs such as "Ayli" (Kapampangan version of "Ngiti"), and

"Ika" (Kapampangan version of "Ikaw") for his repackaged album.

Despite the growing clamor for non-Tagalog, and non-English music, and greater representations of other

Philippine languages; the local Philippine music industry, which is located in Manila, is still sceptical in making

investments. Some of their major reasons include the language barrier, the still-small market, and the

demonisation of regionalism in the Philippine Islands.

In 2010, Click Music Philippines was formally launched on September 15, 2010 at the New Horizons Hotel,

Mandaluyong City with members of the press, music industry personalities and radio station icons in attendance.

The primary objective of the movement is to rekindle the pride in Original Pilipino Music. This is the first project that

brings composers and radio networks together towards a unified business direction anchored on creative

industries initiatives with a tighter focus on copyright ownership in the value chain during the production and

distribution of creative content in the music industry.

[edit]Best-selling albums in the Philippines

Main article: List of best-selling albums in the Philippines
[edit]Rock

The United States occupied the Islands in 1898 until 1946, and introduced American blues folk music, R&B, and

rock and roll became popular. In the late 1950s, native performers adapted Tagalog lyrics for North American rock

n'roll music, resulting in the seminal origins of Philippine rock. The most notable achievement in Philippine rock of

the 1960s was the hit song "Killer Joe," which propelled the group "Rocky Fellers" which reached number 16 on

the American radio charts.

Up until the 1970s, popular rock musicians began writing and producing in English. In the early 1970s, rock music

began to be written using local languages, with bands like the Juan Dela Cruz Band being among the first popular

bands to do so. Mixing Tagalog, and English lyrics were also popularly used within the same song, in songs like

"Ang Miss Universe Ng Buhay Ko," by the band Hotdogs which helped innovate the Manila sound. The mixing of

the two languages (known as "Taglish"), while common in casual speech in the Philippines, was seen as a bold

move, but the success of Taglish in popular songs, including Sharon Cuneta's first hit, "Mr DJ," broke the barrier

forevermore.

Philippine rock musicians added folk music, and other influences, helping to lead to the 1978 breakthrough

success of Freddie Aguilar. Aguilar's "Anak" (Child), his debut recording, is the most commercially successful

Filipino recording, and was popular throughout Asia, and Europe, and has been translated into numerous language

by singers worldwide. Asin also broke into the music scene at the same period, and were popular.

Folk-rock became the Philippine protest music of the 1980s, and Aguilar's "Bayan Ko" (My Country) became

popular as an anthem during the 1986 EDSA Revolution. At the same time, a counterculture rejected the rise of

politically focused lyrics. In Manila, a punk rock scene developed, led by bands like Betrayed, The Jerks, Urban

Bandits, and Contras. The influence of New Wave was also felt during these years, spearheaded by The Dawn.

The 1990s saw the emergence of a superstar pop-rock group, the Eraserheads, considered by many Philippine

nationals as the number one group in the Philippine recording scene. In the wake of their success was the

emergence of a string of influential Filipino rock bands such asYano, Siakol, Parokya ni Edgar, and Rivermaya,

each of which mixes the influence of a variety of rock subgenres into their style.

Filipino rock has also developed to include some hard rock, heavy metal, and Alternative rock such

as Razorback, Greyhoundz, Slapshock, Grin department,and the progressive band Paradigm.

Many of the so called “under ground” bands existed, though their exposure is limited to the public. Naming a few,

The Zombies of Ateneo de Manila ( with Grigo Mendoza as front man), Circle’s End of Diliman (with Geno Georsua

as “the dramatic song writer"....where are you going you are already there.) and the ethnic group band of Southern

Philippines, the Kudyapi ni Bandong (with Zac Dugiung “string master”.)

The Neo-Traditional genre in Filipino music is also gaining popularity, with artists such as Joey Ayala, Grace Nono,

Bayang Barrios, Cocojam, and Pinikpikan, reaping relative commercial success while utilizing the traditional

musical sounds of many Indigenous tribes in the Philippines.

Today, the Philippines has notable metal bands such as SIN, COG, Bloodshedd, Imbue No Kudos, April Morning

Skies, Valley Of Chrome, and Arcadia

In the Reggae Scene, Cebu is dubbed to be the "Reggae Capital of the Philippines" with the most numbered

Reggae artists. Some of the influential reggae bands from cebu is Cooliedread and the Microphone Commanders,

Bambu Spliff, Potent Bush, Roots Revival, Sefyla, Santing Scalawags, and more!

[edit]Hip-hop

Main article: Pinoy hip hop

Filipino hip-hop is hip hop music performed by musicians of Filipino descent, both in the Philippines, and overseas,

especially by Filipino-Americans. This article focuses first on Filipino hip-hop in the Philippines, and secondly on

that in the USA. The Philippines is known to have had the first hip-hop music scene in Asia[1] since the early

1980s, largely due to the country's historical connections with the United States where hip-hop was originated. Rap

music released in the Philippines has appeared in different languages such as Tagalog, Chavacano, Cebuano,

Ilocano and English. In the Philippines, Francis M and Andrew E. are cited as the most influential rappers in the

country, being the first to release mainstream rap albums. In the USA, Apl.de.ap of the Black Eyed Peas, Cassie

Ventura and Chad Hugo of The Neptunes andN.E.R.D are cited as the most successful Filipino-Americans in the

music industry.

[edit]Other genres

A number of other genres are growing in popularity in the Philippine music scene, including a number of alternative

groups, and tribal bands promoting cultural awareness of the Philippine Islands.

Likewise, jazz has experienced a resurgence in popularity. Initial impetus was provided by W.D.O.U.J.I.(Witch

Doctors of Underground Jazz Improvisation)with their award winning independent release "Ground Zero"

distributed by the now defunct N/A Records in 2002 and the Tots Tolentino-led Buhay jazz quartet on the year

before that. This opened up the way for later attempts most notable of which is the Filipino jazz supergroup Johnny

Alegre Affinity releasing its eponymous debut album in 2005 under London-based Candid Records. Mon David has

also made the rounds of the Las Vegas music circuit. Among the female performers, Mishka Adams has been the

most prominent. A recent development is the fusion of spoken-word and jazz, and rock, chiefly attributed

to Radioactive Sago Project. Other notable names of late are Bob Aves with his ethno-infused jazz, The Jazz

Volunteers and Akasha which have anchored the now legendary underground jazz jams at Freedom Bar for almost

half of the 11 years of its existence.

Bossa nova and Latino music has been popular since the 1970s. Performers like Annie Brazil were active in the

1970s, while more recently,Sitti has been earning rave reviews for her bossa nova covers of popular songs.

While there has long been a flourishing underground reggae and ska scene, particularly in Baguio City, it is only

recently that the genres have been accepted in the mainstream. Acts like Brownman Revival, Put3Ska and Roots

Revival of Cebu, Philippines have been instrumental in popularizing what is called "Island Riddims". There is also a

burgeoning mod revival, spearheaded by Juan Pablo Dream and a large indiepop scene.

[edit]Music videos

From the 1990s to the present, the quality, and diversity of Philippine music video has greatly improved. Notable

directors such as Raymond Red, Robert Quebral, Cholo Laurel, Louie Ignacio, Avid Liongoren, Marie Jamora, J.

Pacena, and Pancho Esguerra have made excellent videos for both mainstream, and alternative artists. These

directors have brought production values, and techniques up to an international level for the first time, and have

been widely employed by the major labels.

Fans consume music videos from a variety of outlets. The main television outlets for music videos in the

Philippines are the music-centered networks MTV Philippines, Channel V Philippines, and MYX.

Filipino music is a mixture of European, American and indigenous sounds. Much of the music of the Philippines

have been influenced by the 377 year-long colonial legacies of Spain, Western rock and roll, Hip hop music|hip-

hop and pop music from the United States, the indigenous Austronesian Languages|Austronesian population and

Indo-Malayan Gamelan music.

Contents

[hide]

• 1 Indigenous musical styles

o 1.1 Southern styles

o 1.2 Northern styles

o 1.3 Other styles

• 2 Spanish influence

o 2.1 Harana

o 2.2 Kundiman

o 2.3 Rondalla

• 3 Philippine choral music

• 4 Philippine Popular Music

 o 4.1 North American influences

o 4.2 Filipino rock

o 4.3 Filipino Hip-Hop and R&B

• 5 See Also

• 6 References

• 7 External links

[edit] Indigenous musical styles

The Philippines, being a large archipelago, has musical styles that vary from region to region. Traditional Filipino

music typically employs a combination of musical instruments belonging to the percussion, wind, and string

families. These instruments are usually made of bronze, wood, or bamboo.

[edit] Southern styles

Among the various groups of the island of Mindanao and the Sulu Archipelago, a highly sophisticated musical

repertoire called kulintang exists in which the main instruments used are bossed gongs not dissimilar to gongs

used in Indonesia.

A pair of agungs, one of the instruments found in the kulintangensemble

Generally, kulintang ensembles among the Maguindanao, Maranao, the Tausug and other lesser known groups,

are composed of five pieces of instrumentation. Among the Maguindanao, this includes: thekulintang (strung out

horizontally on a stand, serving as the main melody instrument of the ensemble), the agung (the largest gongs of

the ensemble providing much of the lower beats, either coming in a pair of two or just one alone),

the gandingan (four large vertical gongs aligned front to back, used as a secondary melodic instrument),

the dabakan (an hour-glass shaped drum covered in goat/lizard skin) and the babendil (a singular gong used as

the timekeeper of the entire ensemble). The Maranao have similar instrumentation with the exception of the

gandingan which they do not have an equivalent of.

A Philippine kulintang of the Maguindanaon people with 8 gongs stacked horizontally by pitch atop a wooden antangan
List of the Traditional Instruments of the Southern Philippines:
Five main instruments of the Maguindanao Kulintang Ensemble
Kulintang - Agung - Gandingan - Babendil - Dabakan
Other Southern Pilipino non-ensemble instruments
Kulintang a Kayo - Gandingan a Kayo - Kulintang a Tiniok -
Kubing - Luntang - Agung a Tamlang – Kagul – Palendag –
Tumpong – Suling - Kutiyapi

Among the Maguindanao/Maranao, kulintang music serves as their means of entertainment and hospitality, being

used in weddings, festivals, coronations, to entertain visiting dignitaries and to send off those heading and coming

back from pilgrimages. Kulintang music is also used to accompany healing ceremonies and particularly among the

Maguindanao, can serve as a form of communication. Because the Maguindanao can convert the music into their

language and vice versa, the Maguindanao can sends messages long distances using their instruments.

The gandinganusually is their instrument of choice to send messages, known among the Maguindanao as apad.

Apad has been used to warn others of impeding danger or to send a message to a lover. In fact, people have been

known to elope with the use of such songs. [1]

Among the Tausug of the Sulu Archipelago, The Sindil (sung verbal jousts) is a musical lighthearted style that is

sung by a duo of both sexes sung in front of an audience. Teasing, jokes, and innuendos flow into the verses, the

better ones being applauded by the audience. Thegabbang xylophone and biyula traditional violin are the

instruments mainly used. Although Sindil is a particular genre of music, the verbal jousting musical type is also

found in many other parts of the country, especially among the Visayan peoples, who are ethnically related to the

Tausug. Sindil are normally used at weddings and other festive events.

Other musical traditions of this region are those of the serenade form Kapanirong and the outdoor "loud" music

repertoire called Tagonggo.

[edit] Northern styles

Among the indigenous peoples of the Central Cordilleras of the northern island of Luzon, music is also played with

gongs, but unlike those of southern repertoires, these gongs, called Gangsa, are unbossed and have their origins

in mainland Asia. Music is usually played to accompany dance, and because of this is mostly percussion based.
Gong ensembles are normally accompanied by drums. The music is polyphonic, and uses highly interlocking

repeated patterns.

[edit] Other styles

Other indigenous instruments include a bamboo zither, log drums, the Kudyapi two stringed boat lute and various

flutes, including some nose flutes used by northern tribes.

[edit] Spanish influence

Spanish and Mexican colonizers left their musical mark on the Philippines, introducing a rich

culture, Christianity and its attendant religious music. The guitar and other instruments, as well as zarzuela (a form

of operetta) were popular and soon became an important part of the customs and traditional elements of

the culture of the Philippines.

[edit] Harana

The Harana first gained popularity in the early part of the Spanish Period. It's influence comes from folk Music of

Spain and the Mariachi sounds of Mexico. It is a traditional form of courtship music in which a man woos a woman

by singing underneath her window at night. It is widely practiced in many parts of the Philippines with a set of

protocols, a code of conduct, and a specific style of music. Harana itself uses mainly Hispanic protocols in music,

although its origins lie in the old pre-colonial Philippine musical styles which still practiced around the country (See

Also Kapanirong style of the Maguindanao of Mindanao). The main instrument used for Harana is the Guitar,

played by the courter, although other string instruments such as the Ukulele and less frequently, the Violin and

Trumpets are also used.

[edit] Kundiman

The Kundiman is a lyrical song made popular in the Philippines in the early 19th century, but having origins in older

pre-colonial indigenous styles. Composed in the Western idiom, the song is characterized by a minor key at the

beginning and shifts to a major key in the second half. Its lyrics depict a romantic love, usually portraying the

forlorn pleadings of a lover willing to sacrifice everything on behalf of his beloved. In many others, it is a plaintive

call of the rejected lover or the broken-hearted. In others, it is a story of unrequited love. Almost all traditional

Filipino love songs in this genre are heavy with poetic emotion. One such Kundiman that tells about unrequited

love is the Visayan song Matud Nila.

In the 1920s Kundiman became a much more mainstream musical style, with many popular performers

including Diomedes Maturan and Ruben Tagalog.

[edit] Rondalla

Spain brought the rondalla to the Philippines in the 1800’s. An ensemble of plectrum instruments, the early

Philippine rondalla repertoire consisted primarily of Western European symphonic overtures and arias from operas.
Its compatibility with native Philippine music allowed the rondalla to figure prominently in Filipino rural community

life, providing accompaniment to folk dancing and singing as well as the featured ensemble.

As proof of the rondalla’s natural fit with Philippine music, it has been brought to other parts of the world wherever Filipinos can be found. In

the United States, the Philippine Chamber Rondalla of New Jersey, Inc. is a leading proponent of Philippine rondalla music in the North

Eastern seaboard.

The standard Philippine rondalla consists of the pear-shaped piccolo bandurria, bandurria, and Laud|la-ud, and the

guitar-shaped octavina and mandola, guitarra, and bajo de unas (which has been supplanted by the double bass).

Fashioned from common Philippine wood such as langka, narra, kamagong, and mahogany, the instruments are

played with a plectrum of turtle shell. The fourteen strings of the rondalla instruments, except for the guitarra, are

grouped into six tuning units – viz., F#, B, E, A, D, G. The doubling or tripling of strings produces better sound

quality and volume.

[edit] Philippine choral music

The Philippine choral music scene has been developed and popularized by the Philippine Madrigal Singers. This

choir is the country's premier chorale and has been an award-winning chorale through its existence. Also from the

same homefront, i.e. the University of the Philippines, are the University of the Philippines Singing

Ambassadors (or UPSA) and the University of the Philippines Concert Chorus (or UPCC), two of the most sought-

after and multi-awarded groups in the country. Also, Kundirana, a high-school choral group from La Salle Green

Hills, became popular as well.

[edit] Philippine Popular Music

[edit] North American influences

The United States occupied the Islands in 1898 until 1935 and introduced American blues, folk, R&B and rock and

roll became popular.

For many years, even after the Republic of Philippines became an independent nation, most popular Filipino

musicians recorded "covers" of American hit songs. Many visitors to the RP came away believing that there was

no unique Filipino music sound, because they were only exposed to lounge and bar singers who were told to "sing

Kano."
However, this American influence taught the Filipinos how to create and market their own performers, and led to

the emergence of superstars such as Sharon Cuneta, Gary Valenciano, Lea Salonga and Regine Velasquez, as

well as the "Pinay girl group" phenomenon which brought Kikay, Sex bomb, Viva Hot Babes, Jaboom Twins and

others.

As a result, much original Pilipino music ("OPM") is reminiscent of earlier American popular music, which has led

to a certain popularity among North American audiences who have burned out on overplayed "oldies" but still enjoy

the sound. Thus Filipino performers are paying back the debt with interest.

[edit] Filipino rock

Main article: Filipino rock

In the late 1950s, native performers wrote Tagalog lyrics for North American rock n'roll music, resulting in the

beginnings of Filipino rock.

The most notable achievement in Filipino rock of the 1960s was the hit song "Killer Joe," which propelled the group

"Rocky Fellers" to #16 on the American radio charts. However, despite the Fellers family (father and four sons)

being of Manila origin, the song itself was written by US musicians Bert Russell (Bert Berns), Bob Elgin, and Phil

Medley, so some critics contend that it wasn't truly Filipino rock.

In the early 1970s, Tagalog and English lyrics were both used, within the same song, in songs like "Ang Miss

Universe Ng Buhay Ko," which helped innovate the Manila sound. The mixing of the two languages (known as

"Taglish"), while common in casual speech in the Philippines, was seen as a bold move, but the success of Taglish

in popular songs, including Sharon Cuneta's first hit, "Mr DJ," broke the barrier forevermore.

Freddie Aguilar, popular Filipino folk musician whose music came to symbolise the People Power struggles of the 1980's
Soon, Filipino rock musicians added folk music and other influences, helping to lead to the 1978 breakthrough

success of Freddie Aguilar. Aguilar's Anak, his debut recording, is the most commercially successful Filipino

recording in history, and was popular throughout Asia and Europe, and has been translated into numerous

language by singers worldwide. Asin also broke into the music scene at the same time and were very popular.

Rock music became the music of Filipino protesters in the 1980s, and Aguilar's "Bayan Ko" became especially

popular as an anthem during the 1986 revolution. At the same time, a subculture rejected the rise of socially aware

lyrics. In Manila, a Punk Rock scene developed, led by bands like Betrayed, The Jerks and Urban Bandits. The

influence of New Wave music|New Wave was also felt during these years, spearheaded by The Dawn.

Later Filipino rock stars include Yano, Eraserheads, Parokya ni Edgar, Rivermaya, Cocojam, and Grace Nono,

each of which adopts a variety of rock subgenres into their style.

Joey Ayala, popular Filipino Neo-Traditional Artist, has been partly responsible for the rediscovery of indigenous genres in modern Filipino

music.

Filipino rock has also developed to include some hard rock and heavy metal such as Wolfgang,Razorback,

Greyhounds (band)|Greyhounds,Queso (band)|Queso and the progressive band Fuseboxx.

The Neo-Traditional genre in Filipino music is gaining popularity, with artists such as Joey Ayala, Grace

Nono and Bayang Barrios enjoying relative popularity within the Philippines for including the traditional musical

traditions of the many ethnic minorities of the country.

Today, the Philippines is perhaps Asia's most vibrant music-obsessed country, with home spawned bands such as

Aegis, Bamboo, Urbandub,Imago, Kitchie Nadal, Moonstar 88, MYMP, andSponge Cola, among others.

There has always been a blend of rock and easy-listening styles in OPM, so it is not unusual for a single artist or

group to have a wide repertoire and an equally wide range of fans. A retired businessman may find himself seated

next to a teen girl at an appearance of APO Hiking Society or the latest girl group from Makati, and outcheering her

after a favorite song.

[edit] Filipino Hip-Hop and R&B

Main Article: Filipino hip hop, Filipino R&B

The Philippines is said to have developed the first Hip hop culture|hip-hop scene in all of Asiaand the Pacific

islands. The birth of Filipino hip-hop music or Pinoy Rap as it is commonly called, occurred in the early 1980s with

songs by Dyords Javier ("Na Onseng Delight") and Vincent Dafalong ("Nunal"). The genre developed slowly during

the 1980s but soon hit the mainstream with Francis Magalona's debut album, Yo! which included the nationalistic

hit "Mga Kababayan" (My countrymen). Magalona, who rapped in both English and Tagalog became a pioneer in

the genre and a superstar as a result.

The 1990s were known as the "Golden Age" of Pinoy rap and saw the beginning of rapid stylistic innovation with

Francis M.'s second album released in 1992 Rap is Francis M. which is considered to be one of the greatest Pinoy

rap albums. In 1994, Death Threat released the first Filipino gangsta rap album titled Gusto Kong Bumaet (I Want

to be Good). Another associate of Magalona who emerged as a leading pioneer of the hip hop scene is DJ MOD

a.k.a as Noel Macanaya.

Another Filipino hip-hop artist who achieved promence in the 1990s was formerly Los Angeles based-Andrew

E. who went on to found his own record label, Dongalo Wreckords as well as the successful rap group Salbakuta.

The millennium saw Pinoy rap's popularity transform from being considered a fad or novelty into a fully blown

musical enterprise. Rap artists such as Salbakuta, Knife, Krook and J.O.L.O., Mike aka Jempot, Rap2 along with

his brother Gloc-9 continue to top music charts

Singapore
Singapore has an urban musical scene, and is a center for rock, punk and other genres in the region. The 1960s

produced bands like The Crecendos with hit songs like Mr Twister. The Quests, who had hits like "Shanty", "Don't

Play That Song", "Jesamine" and "Mr Rainbow". "Naomi & The Boys" with a house hold hit song "Happy Happy

Birthday Baby" as well as other pop-rock bands including The Thunderbirds, The Trailers, The Western Union

Band,October Cherries and The Silver Strings. Folk music includes the ethnic Chinese, Malay and Tamil sounds.

The launch of the nation's arts centre, Esplanade - Theatres on the Bay, has served to focus the island's classical

music making. It is now the venue for the Singapore Symphony Orchestra's subscription and gala concerts. In

addition, the arts centre has ensured a representation of classical music from the four primary cultures in the land.

In particular, the regular festivals of Hua Yi, Pesta Raya and Kalaa Utsavam ensure that interpreters of these

different repertories are heard on a regular basis.

Contents

[hide]
 • 1 Folk music

o 1.1 Peranakan

• 2 Pop and rock music

o 2.1 Punk and hardcore genres

o 2.2 Heavy metal

o 2.3 List of Singapore metal bands

o 2.4 Bands and Soloists

• 3 National Day songs

• 4 See also

• 5 References

• 6 External links

[edit]Folk music
[edit]Peranakan

Peranakan folk music is noted for its fusion of English in Malay-inspired tunes, largely because the Peranakans

themselves are often conversant in both languages. Contemporary tunes continue to be composed based on the

Peranakan culture, such as "Bunga Sayang", a theme song from Dick Lee's musical "Kampung Amber". The song

became an often-sung staple of the National Day Parade, and gained international exposure when it was

performed for the opening ceremony of the 117th IOC Session at the Esplanade.

[edit]Pop and rock music

Singapore's pop scene began in 1960, when the Blue Diamonds performed, and really launched after Cliff Richard

& the Shadows arrived a year later, thus launching the beat boom. Like much of the world, the British

Invasion began in 1963, led by The Beatles. Some bands remained instrumental, while others incorporated

singers. Soon, British R&B became popular, and spawned a local Malay variety. Pop stars of the 1960s

included Naomi & the Boys, D'4 Ever, Antarctics, Mike Ibrahim & the Nite Walkers, Swallows, Ismail Haron & the

Guys and Les Kafila's.

In the late 1970s and early 1980s saw the rise of rock bands such as Sweet Charity fronted by the charismatic

vocalist Ramli Sarip. The band had such an influence in the Singapore and Malaysia music scene that it later led to

a rock explosion in the mid 1980s.

The 1990s produced bands with alternative and indie influences such as Concave Scream, Humpback Oak, The

Padres, Oddfellows, Livionia, with the band KICK!, signed to the Pony Canyon label, making a strong wave in the

POP scene with a slew of radio hits & a strong fan base.
[edit]Punk and hardcore genres

A popular band in Singapore is an all-Malay punk band Rancour which have gained popularity and musical

success in a Malay "battle of the bands" programme called "Anugerah Band". Canadian Hardcore Punk

band Comeback Kid and American Hardcore punk band Sick of It Allhave played in Singapore before. Screamo is

less popular but is still known in the music scene with Japanese screamo band Envy having a maintainable fan

base in Singapore. Emo is less common but there are still bands who have or are still playing of that genre.

[edit]Heavy metal

Heavy metal has a small but not insignificant presence in Singapore's music scene. Popular bands

like Slayer, Dream Theater and Helloweenhave played in Singapore to receptive crowds, usually at an open field

at Fort Canning Park. Weekly small scale to medium scale gigs are held almost weekly at locations such as

BlackHole212 or Substation. Most recently, on 15th February, 2011, Iron Maiden played to a crowd of 12,000 at

the Singapore Indoor Stadium.

There have also been many notable local metal bands in the growing underground scene.

Special mention includes:

 Black metal stalwarts Impiety whose name has traveled way past our humble shores,

 Extreme Metal veterans Rudra who created a new metal genre called Vedic Metal and a cult following

worldwide. The band has also attracted the attention of Musicologists. Several papers have been published

about Vedic Metal and the band,[1]

 Local Death metal band Absence Of The Sacred had the honour of Kevin Talley, current drummer

for Dååth and ex-Dying Fetus drummer, to session for them. [2]

 Wormrot has recently been signed by UK record label, Earache Records. [3]

Metal bands in Singapore run the gamut and include bands from many varying subgenres. However it is not

uncommon for bands from the more underground genres to view bands from more mainstream genres with

disdain.

Unfortunately, there is little support for metal in Singapore's mainstream media. However, Metal music of this

generation are lucky to be featured occasionally on Brader Bo's show, Vicious Volume of RIA 89.7fm. Oshiego was

also featured in Lime Magazine's 30 Hottest Local Acts, a compilation CD, with the song "Now Suffer" originally

from the titular EP.[4] hI

Heavy Metal Tribune.

The local Heavy Metal scene is Singapore is not daunted by the lack of support from the local mainstream media,

and has established its own ways of disseminating information by utilizing popular internet based social mediums

such as Facebook, Twitter and Blogger. One notable organisation is Heavy Metal Tribune, which features many

local metal acts as well as others from other parts of the world, mainly to allow each region to reach out to one

another, while providing local metalheads to know what they are up against.

Heavy Metal Tribune also provides gig organisers with a platform to publicise their events, via their Facebook wall

or its weekly 'newsletter'.

[edit]List of Singapore metal bands

 Absence Of The Sacred

 Bhelliom

 Crucifixion

 Dante's Theory,

 Deus Ex Machina (Death Metal)

 Doxomedon

 Draconis Infernum

 Eibon

 Exuberance

 Fall of Mirra

 Harvester

 Helvette

 IMPIETY

 IronFist

 Kaliyuga

 MeltgSnow
  Meza Virs

 Oshiego

 PSYCHO

 Rudra (Vedic Metal)

 Sanity Obscure

 Scaphoids

 Stillborn

 Suicide Solution

 Truth Be Known

 Wormrot

 Xanadoo

 Zushakon

[edit]Bands and Soloists

Alternative and indie rock music influenced bands in the 1990s such as Concave Scream, Humpback Oak, The

Padres, Oddfellows, and Livionia. In the Pop/Rock genres were "KICK!", Lizard's Convention & Radio Active.

Recently, alternative, metal, grindcore, punk rock and rock acts from Singapore who may have gained some profile

in countries other than the city-state of Singapore include Firebrands, Stompin' Ground, Ling Kai, Inch Chua,

Ronin, Anna Judge April, Electrico, Force Vomit, 4-Sides, Vermillion, West Grand

Boulevard, Plainsunset, Etc, Caracal, Popland, The Great Spy Experiment, Sky In Euphoria, Rancor, Saw Loser

(formerly known as Pug Jelly), Malex (Power Metal) , A Vacant Affair (Post-hardcore band), For Better Endings

(Experimental Hardcore band) , death metal and Rudra who are significant for creating the genre "Vedic Metal".

[edit]National Day songs

Of particular note to the Singaporean music scene is what are often collectively known as National Day Songs (国

庆主题歌). Written as part of Singapore's nation-building efforts, they either incorporate local folk songs (such as

"Chan Mali Chan"), contemporary songs ("The Magic Is You"), or are specifically composed around a particular

theme for the National Day Parade which is held every year on August 9.

In 1984, Stand Up for Singapore, was initially created for the sole purpose of celebrating Singapore's

achievements in 25 years of self-government. Commissioned by the Ministry of Culture and composed by Hugh

Harrison, the song struck a chord with Singaporeans, especially when they heard it performed by the New York

Philharmonic Orchestra, and so the first 'official' National Day Song was born. The government, realizing just how

much the public enjoyed singing as a way of celebrating, commissioned a new song for 1986. As a result,Count

on me Singapore, also composed by Hugh Harrison, arranged by Jeremy Monteiro and performed by Clement

Chow, became the 2nd 'official' National Day Song. The trend continued the next year, 1987, with We are
Singapore, again composed by Hugh Harrison and arranged by Jeremy Monteiro. Then, in 1990 with the addition

of One People, One Nation, One Singapore composed by Jeremy Monteiro with lyrics by Jim Aitchison for the

nation's Silver Jubilee - 25 years of independence, the list of 'official' National Day Songs topped out at four.

Since 1998, National Day Songs have become less 'grandiose' and more popular in nature being composed for

and sung by selected local artists and sometimes even included in their albums to be marketed overseas.

 1998: "Home" (家), by Kit Chan

 1999: "Together" (心连心), by Evelyn Tan and Dreamz FM (Evelyn Tan only for Chinese version)

 2000: "Shine on Me" (星月), by Jai (English version) and Mavis Hee (Mandarin version)

 2001: "Where I Belong" (属于), by Tanya Chua

 2002: "We Will Get There" (一起走到), by Stefanie Sun

 2003: "One United People" (全心全意), by Stefanie Sun

 2004: "Home" (家), remixed version by Lin Junjie, Kit Chan

 2005: "Reach Out For The Skies" (勇敢向前飞), a duet by Taufik Batisah and Rui En, composed by

Elaine Chan. (The Chinese version is sung by Rui En only).

 2006: "My Island Home" (幸福的图形), by Kaira Gong

 2007: "There's No Place I'd Rather Be", by Kit Chan (陈洁仪) and Will You - Various Local Artiste

 2008: "Shine for Singapore" (晴空万里), by Hady Mirza (English version) and Joi Chua (Mandarin

version)

 2009: "What Do You See" (就在这里), by Electrico (English version) and Kelvin Tan (Mandarin version)

 2010: "Song For Singapore", by Corrinne May

Other community-building songs:

 2005: "Sing Our Wishes" - Also used as official song for Ministry of Education schools for Racial

Harmony Day 2005

 2005: "We Can"

An ad-hoc offshoot of these National Day Songs are the songs specially composed for groundbreaking events. A

prominent example was the song Moments of Magic, written by Hype Records CEO Ken Lim specially for

Singapore's millennium celebrations towards the end of 1999. It was performed by three notable singers - Fann

Wong, Tanya Chua and Elsa Lin. The music video was directed by Singapore filmmaker Eric Khoo.

 1999: "Moments of Magic", by Fann Wong, Tanya Chua and Elsa Lin

Music and Dance in Singapore

The music and dance in Singapore has a significant contribution to make to the rich and multihued culture of the city that
makes it one of the most vibrant and dynamic cities in the whole of South East Asia.

The music in Singapore has followed an evolving trend and is essentially urban in nature, pre dominated by the

genre of rock and pop music. Some of the legendary rock bands in Singapore are 'The Quests', the 'Thunderbirds'

and the 'October Cheries'. The Folk Music of Singaporehas the ethnic element in it that comprises of the

Chinese, Malay and Tamil sounds. The harmonious blend of English in Malay enthused tunes characterizes the

Peranakan folk music. One important contribution to the rich music in Singapore has been made by the National

day Songs that were composed as a part of the nation building efforts of Singapore. Popular numbers include

"stand Up For Singapore', 'Count on Me Singapore', 'We are Singapore' etc.

The dance in Singapore has relatively a short history and it comprises of both conventional and contemporary

forms. The most important contemporary dance company in Singapore is the ECNAD Project while the NAFA offers

a full time course on contemporary dance in Singapore. The Singapore Dance Theatre dance Company is well

known ballet company in Singapore while the dance Arts is a popular school of dance in Singapore.

Popular music in Singapore: exploring local

cultures, global resources, and regional identities
Lily Kong
Received 21 March 1995; in revised form 12 September 1995
Abstract. As an area of geographical inquiry, popular music has not
been explored to any large extent. Where writings exist, they are
somewhat divorced from the recent theoretical and method ological
questions which have rejuvenated social and cultural geography. In this
paper one arena which geographers can develop in their analysis of
popular music, namely, the exploration of local influences and global
forces in the production of music, is focused upon. In analysing the
music of Dick Lee, a Singaporean artiste, I illustrate how music is an
expression of local/national influences. At the same time I discuss how
Lee's music is also reflective of the power of globalising forces,
illustrating the ways in which local resources intersect with global
resources in a process of transculturation. Then I discuss the ways in
which musical analysis offers a handle on larger political, economic, and
sociocultural developments in Asia. Lee's search for a regional sound
parallels the shift in many other spheres of Asian existence whereby a
new cultural assertiveness has emerged, founded on the notion of Asian
values and an 'Asian Way'.