Tag: No. 7

CEBU CITY—POPE Francis has announced that the 52nd International Eucharistic Congress (IEC) will be held in Budapest, Hungary in 2020, after Cebu’s successful hosting that saw record-breaking attendance from the faithful.

The Holy Father made the announcement in a video message after the Concluding Mass of the 51st IEC, the “Statio Orbis” or the “Mass of the World,” at Cebu South Road Properties. An estimated one million people attended the Mass led by the papal legate, Charles Cardinal Maung Bo of Myanmar.

The Archdiocese of Esztergom-Budapest houses 1,254,000 Catholics or 60.1 percent of Budapest’s population. It was in the 10th century when the Archdiocese of Esztergom was established. The see was renamed the Archdiocese of Esztergom-Budapest in 2013.

CEBU CITY—FILIPINO Catholics, branded historically as “pueblo amante de Maria,” the “beloved nation of Mary,” are called to strengthen their devotion to the Blessed Mother to have a deeper relationship with God.

In the final catechesis of the 51st International Eucharistic Congress (IEC) titled “The Eucharist and Mary,” New York Archbishop Timothy Cardinal Dolan described Mary as a bridge of faithfulness and an “intimate part of the Eucharist.”

“You want to be closer to Jesus at the Cross? Well then, be close to Mary because She is right there next to Him,” Dolan said during the penultimate day of the IEC.

The American prelate said Mary is present in all forms of the Eucharist—the Eucharist as sacrifice, meal and presence.

PRINTMAKING may have taken a beating from both painting and digital art, but it remains a valid vehicle for the visual arts as shown in “Territories,” an exhibit of the Association of Pinoy printmakers at the Bulwagang Fernando Amorsolo and Pasilyo Victorio Edades of the Cultural Center of the Philippines.

The exhibit showed various printing techniques such as woodblock, serigraph and intaglio.

Janos de la Cruz, UST Fine Arts in Advertising graduate and award-winning young illustrator and print artist, said the exhibit lets the artist “explore the boundaries” of printmaking while extending the print art on pillows, “bakya” and even as graffiti on walls.

LINDSEY Lee’s new exhibit, “Cliché Untitled,” at Artery Art Space in Cubao, Quezon City, continues his critique of commodification in the art world as well as, as the title suggests, his crusade against stereotypes and hackneyed expressions in art.

Lee, who has established himself as a young abstract painter though lately veering into conceptual art and sculptural and taxidermal installations, makes use of blunt imagery in thought-provoking works so as to deliver his scathing condemnation of commoditization of creativity.

AN INSTRUCTOR of the colleges of Architecture and Fine Arts has come up with a multilingual “visual dictionary” of Philippine architecture to guide students of history and cultural heritage.

Illustrations in the “Diksiyonaryong Biswal ng Arkitekturang Filipino,” published by the UST Publishing House (USTPH), have been drawn by the author himself, Rino D.A. Fernandez, along with contributions by some of his students.

The 111-page dictionary uses local terminologies of “vernacular” or native Philippine architectural styles, such as those in Bontoc and Ifugao, as well as the Spanish and English terminologies.

The book is divided into three parts: First Societies, Hispanic Period and American Period.

HINDI ko malilimutan ang hagikgikan ng mga propesor, estudyante at manunulat na dumalo sa isang seminar ukol sa paggamit ng wikang Filipino sa pagtuturo ng mga teknikal na asignatura tulad ng agham at matematika.

Ang rason? Kawalan ng tuwirang salin para sa mga terminolohiya sa mga nasabing asignatura.
Ano sa Filipino ang mathematics? Sipnayan. Ang square root? Ikalawang ugat. Eh, ang chemistry? Kimika. Ilan lamang ito sa mga salin na kinahagikgik ng mahigit limampung katao sa loob ng isang awditoryum sa unibersidad.

Kung titignan sa kasaysayan, naging bahagi ng pag-usbong ng wikang pambansa ang mga salitang sipnayan, kimika at iba pang teknikal na termonolohiyang isinalin sa Tagalog.

SA pamamagitan ng malikhaing pagkatha, inilapit ni Mayette Bayuga ang urbanidad sa malumanay na alon ng dalampasigan, sa mga mahihiwagang kuweba, sa tuktok ng bulubundukin, sa pusod ng kagubatan, sa mga liblib na bayan-bayanan at sa mundong hindi pa nasisilayan ng sangkatauhan.

Sa bagong limbag na koleksiyon ng mga dagli at maikling kuwentong pinamagatang “Babae, sa Balumbalonan ni Hakob at iba pang mga Kuwento” (UST Publishing House, 2015), ibinalik ni Bayuga ang mga mambabasa sa panahon kung kailan tanging ang impluwensiya lamang ng kalikasan ang namamayani sa damdamin at paniniwala ng mga Filipino.

TAONG 1948 nang unang ipatupad ang pagsusuot ng mga bagong disenyong uniporme ng mga mag-aaral sa Faculty of Medicine and Surgery at Conservatory of Music.

Kasunod ng ihinaing panuntunan ng Unibersidad ukol sa pagsusuot ng mga uniporme upang magsilbing pagkakakilanlan ng bawat fakultad at kolehiyo, pinasinayaan ng konserbatoryo, sa pangunguna ng Conservatory of Music Student Council ang unang pagsusuot ng mga uniporme at pin noong ika-siyam ng Agosto ng nasabing taon.

Inumpisahan ng mga kababaihan sa konserbatoryo ang pagsusuot ng dalawang kulay ng pin bilang pagsimbolo sa kanilang kolehiyo.

Videos of rude taxi drivers shouting and even assaulting passengers have gone viral and enraged the public, even prompting lawmakers to revive a bill defining the “rights of taxi passengers.”

One video showed a taxi driver shouting expletives at a female passenger who had refused to pay additional fare. The driver even ran after the passenger and threatened to hit her.

I myself have encountered taxi drivers who do not want to use the meter or who demand a higher fare. I have likewise met drivers who drop you off even when you are still far from your destination due to heavy traffic.

Other drivers of public utility vehicles (PUV) are just as abusive.

THE DEATH of Letty Jimenez-Magsanoc, the Philippine Daily Inquirer’s esteemed editor in chief, has occasioned a look-back on how the newsroom has dramatically changed since the days of the penny press at the turn of the 20th century.

From a newsroom dominated by “macho” journalists, the news scene has been radicalized and even reinvented as women journalists have joined what used to be a “man’s world.”

In some instances, women editors have been bolder and more courageous than the men. This is particularly true of Magsanoc who was executive editor of a paper founded by another woman, Thomasian journalist Eugenia Duran-Apostol.