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SEPTEMBER 2008

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NOTESFROMTEAMWIKIPILIPINAS WikiPilipinas is about Filipinos, for Filipinos, and by Filipinos. The spirit of revolution is action, and it was the action of the millions of Filipinos who went to EDSA in February 1986 demanding to be heard, armed with nothing but prayers, yellow shirts, and the courage to change things together, which ignited the People Power Revolution. The spirit of EDSA lives as long as Filipinos continue to come together, believing in the idea of a world that is common to all, revolutionizing our society even as we keep on building it. WikiPilipinas provides us with a place where our histories and memories can be represented, where we tell our stories and document our society through collaborating with fellow Filipinos all over the world. Memory is the basis of a nation’s survival, and the store of its knowledge is the true measure of its worth. Animated with the spirit of action, empowered by WikiPilipinas, the revolution comes alive.

THIS MAGAZINE IS FREE: • to Share — to copy, distribute and transmit the work • to Remix — to adapt the work UNDER THE FOLLOWING CONDITIONS: • Attribution. You must attribute the work in the manner specified by WikiPilipinas, the manual’s author and licensor (but not in any way that suggests that they endorse you or your re-use of this work). • Share Alike. If you alter, transform, or build upon this work, you may distribute the resulting work only under the same, similar or a compatible license. This is a copyleft license. • For any reuse or distribution, you must make clear to others the license terms of this work. • Nothing in this license impairs or restricts WikiPilipinas’ moral rights. WikiZine is the official monthly publication of WikiPilipinas.org. PROJECT EDITOR: Jessica Marquinez COPY EDITOR: Andrea Peterson ART DIRECTOR: Richard Grimaldo CREATIVE TEAM: Baripov Guerrero, Ryan Dela Cruz, and Randy Pagatpatan WikiZine is licensed under GNU Free Documentation License (GFDL). For a full explanation visit http://en.wikipilipinas. org/index.php?title=GNU_Free_Documentation_License). See full disclaimer at http://en.wikipilipinas.org/index. php?title=WikiPilipinas:_The_Philippine_Encyclopedia:General_disclaimer

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1

from the editors

Filipino journalists are known for their courage, intelligence and mettle in covering issues and events, whether locally or around the globe. Philippine publications and news programs have been recognized and lauded in international circles. In honor of this tradition of journalistic excellence, WikiPilipinas presents the WikiZine Point Blank issue, a collection of articles about Philippine media and journalism. Our chosen articles for this month range from one of the earliest journalistic publications to modern-day investigative television, from journalism school to award-giving bodies for media excellence. Meet an award-winning documentary filmmaker and a Pulitzer-nominated photojournalist. Get the scoop on your favorite independent investigative journalists and pillars of Philippine media. Take a peek at two of Vibal Foundation’s newest websites: E-Turo and the Philippine Online Chronicles. E-Turo (www.e-turo.org) is a website containing free and open educational resources. Filipino teachers, students, parents and learners can access and share educational materials in E-Turo. The Philippine Online Chronicles (www.thepoc. net) lives up to the tradition of innovative journalism. It compiles news from different sources, including blogs, student papers, and other alternative sources. With this WikiZine, we bring you not only the best of Philippine media and journalism, but also the best and the newest we can offer. Together, let us read more, write more, learn more and share more.

ABOUT THIS ISSUE In journalism, it’s all about the facts and stories that matter. And we got them here for you. JUST FLIP THE PAGE.


2

Center for Journalism

T

h e Ph ilippine Center for Investigative Journalism (PCIJ) is an independent, non-profit media agency that specializes in investigative reporting. It was founded in 1989 by nine Filipino journalists with the aim of going beyond the day-to-day reportage in newspapers and broadcast agencies.

Beliefs and objectives

Th e PCIJ has published over Th e PCIJ believes that the media plays a three hundred articles in Philipcrucial role in exploring issues in a de- pine newspapers and magazines, mocratic country, and in doing so, it helps produced five full-length docustrengthen and stabilize the government. mentaries, and released over a dozen Th e Center contributes to this by pro- books. It has also won major awards, viding the citizens with bases for arriving including nine National Book Awards, at informed opinions a Catholic Mass and decisions about Media Award, and concerns occupying more than two the nation. Although dozen awards and it does not plan to recitations from the place the work of inJaime V. Ongpin dividual newspapers Awards for Investior radio and televigative Journalism. sion stations, it aims Th e PCIJ covers to encourage a culture of investigative a variety of topics, from politics to the journalism in the Philippine press. environment, from health and business to women and the military. Some of the Activities reports have prompted government actTh e PCIJ funds investigative projects for ion, especially those which dealt with both print and broadcast media. It re- corruption, public accountability and leases books on current issues and pub- environmental protection. Th e Center lishes an online report every month. Th e receives foundation support for its work. PCIJ also organizes training seminars for It earns a modest income from its pubjournalists and provides trainers for news lications , which is used for operational organizations in the Philippines and costs. Th ere are five journalists who write Southeast Asia. In addition, it conducts investigative reports and oversee various seminars and studies on issues involving components of the Center’s work‌ the media and information access.

For the complete article, visit http://en.wikipilipinas.org/index.php?title=Philippine_Center_for_Investigative_Journalism


3

Golden Eye

R

om eo M. Gacadis a Filipino veteran photojournalist and a threetime Pulitzer Prize nominee whose works have appeared on the cover of various international publications including Time and Newsweek. He is the chief photographer for the Manila bureau of Agence France- Presse (AFP), the world’s oldest established news agency. Life and career

Romeo Gacad was born in the Philippines in 1959. His interest in photography began as a hobby when he was still in high school. After graduation, he took up Visual Communication at the UP College of Fine Arts. While in UP, Gacad pursued his early enthusiasm and served as a photographer for the Philippine Collegian, the university’s official student publication. Later, he worked as a freelancer for the Associated Press and Sigma photo agency. As a photographer, Gacad has covered some of the most momentous events in the Philippines during the 1980s such as the communist insurgencies, the assassination of former senator and opposition leader Benigno “Ninoy” Aquino, and the recurring problem of Islamic separatists in Mindanao. In 1985, Gacad joined the Manila bureau of the French news agency Agence France-Press. He was delegated to cover three US wars: the 1991 Gulf War, 2001 war in Afghanistan, and the 2003 invasion of Iraq. For forty-one days, he served as an embedded photographer in the US Army 3rd Infantry Division in Iraq where he witnessed the fall of Baghdad. For the complete article, visit http://en.wikipilipinas.org/index. php?title=Romeo_Gacad Photo from www.lopezgroup.com

Aside from these events, Gacad also covered five consecutive years of the Olympic Games: Seoul in 1988, Barcelona in 1992, Atlanta in 1996, Sydney in 2000, and Athens in 2004.

Achievements

For years, Gacad was able to share real stories of politics, war, and disasters through the lens of his camera. For him, photojournalism is unlike doing portraits in a studio. “When covering stories about conflicts and natural disasters, part of my assignment is to produce strong portrait studies of affected people. The biggest challenge in doing this is that the photographer doesn’t have full control of the elements around him, from the main subject who can be moving about in the battle zone, the light, and the vast and intricate surroundings,” says Gacad.


4

N

ellie Bly’s article in 1887 on the abusiveness of health workers towards their wards at a New York mental institution started a trend that has evolved into a separate field of journalism that crossed lines from print to broadcast media. Investigative reports have exposed criminal activities and brought down presidents. While America has award-winning programs 60 Minutes and EXPOSÉ: America’s Investigative Reports, Philippine stations also have their own, which are locally famed for their distinctive styles and formats.

For the complete article, visit http://en.wikipilipinas.org/index.php?title=Investigative_Television_Reporting


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Imbestigador is an investigative television program which tackles a variety of topics - from extreme social issues including injustices and corruption of government officials, to hoaxes and gimmickry. It does surveillance and undercover work, two-party confrontations, interviews (often, the interviewee’s identity is kept secret for security purposes), and factual exposés. Now on its ninth year, Imbestigador airs for 1 hour every Saturday night on GMA-7. It is hosted by veteran radio and television anchor, Mike Enriquez. Aside from hard-hitting crimes, Imbestigador also features special and timely reports often disregarded or forgotten, but which have great impact on the Filipinos. It offers their very own action center which they call the “Sumbungan ng Bayan.” XXX: Exklusibong, Explosibong, Exposé is an investigative, current affairs television show that uncovers irregularities, anomalies and crimes. It covers a wide range of topics, from fake medical practices, to undercover drug dealership and government official corruption. As an informative public service show, XXX aims to keep people on track with the la-

test problems and issues that trouble the country. The program features entrapment and rescue operations, composed of a team of experts. Aired on ABS-CBN, the show is anchored by Julius Babao, Henry Omaga-Diaz, and Pinky Webb. Hosted by Ben Tulfo, Bitag is known for its aggressive approach to investigation, adopting the image of the Tulfo clan. The show was first aired on 14 September 2002 as a public service program for ABC-5, until it was moved permanently to IBC-13. Despite its limited exposure, Bitag also found a home at UNTV-37 where its episodes are replayed during weekdays, and simulcast on DZME Radyo Uno. The program, which usually comes out with three different cases, starts with an overview of the complaint which Ben Tulfo and his team exhaustively investigate. A surveillance is conducted and once the tips are at hand, an undercover operation and reconnaissance follow with assistance from law enforcers. Most of the tips come from the victim, an insider or an asset within a syndicate. With the help of a team of professional investigators, masters of weapons, and the local authorities, they operate in a planned manner.


6

School of the Times

T

h e Manila Tim es College is a private school in Manila established in 2003 by Dante A. Ang, the former publisher and chair of newspaper Th e Manila Timesand a former publicist for President Gloria Macapagal Arroyo. It was formerly known as Th e Manila Times School of Journalism, as its only course offering was Bachelor of Arts in Journalism. TMTC now offers two other courses, AB in English and in History. It is the first Philippine school to be run by a newspaper.

Envisioning change

Th e Manila Times College (TMTC) envi sions itself to be at the forefront of a resurgence of Philippine journalism where the printed word, communication arts and information and communications technologies combine to advance and cultivate the timeless values of truth, social responsibility, ethics and competence in the profession of journalism. As an institution and a new member of the education community it shall exemplify the finest qualities and aspirations of the communication arts and the profession it serves. Th e mission is to develop and nurture journalists and communication practitioners who possess, represent, and build upon the values of competence, ethics, social responsibility and truth.

Facilities

given access to the editorial and printing facilities of the newspaper, giving them some idea of what to expect if they decide to pursue careers as journalists. Radio and television broadcasting facilities are also made available to broadcast journalism students.

Notable instructors

Th e school says it is the “only school that provides hands-on training in print and broadcast from day one,” and so has among its teaching staff professional media practitioners. TMTC Chairman and The Manila Times President and CEO Dante Francis M. Ang II teaches the school’s Media Ethics class, as well as a course in Print Training. Manila Times Lifestyle Section editor Romano C. Jorge also teaches Feature Writing, a course which the school offers seasonally.

Students undergo hands-on training at the offi ces of Th e Manila Times. Th ey are

For the complete article, visit http://en.wikipilipinas.org/index.php?title=Th e_Manila_Times_College


7

Awarding the Best in Media

N

ew s th roughtelevision, radio, newspapers, and other forms of broadcasting has dominated and influenced the awareness of the public and shaped the destiny of the nation. Th ree of the most credible award-giving bodies in the country today honor broadcast media practitioners, broadcast industries, and programs.

Jaime V. Ongpin through the Archdiocese of Manila by His Awards Eminence Archbishop Jaime Cardinal L.

Th e Jaime V. Ong - Sin. Th is is the the Archdiocese of Ma pin Awards for Ex- nila’s way of paying tribute to those who cellence in Journal- have promoted Christian values in an outism (JVOAEJ) are standing way, in radio, press, advertising, awards that promote television, and film. and encourage indepth reporting. It Golden Dove is a yearly event organized by the Center Awards for Media Freedom and Responsibility Th e KBP Golden (CMFR) to promote the practice of invesDove Awards are tigative and explanatory journalism. Th ese given out yearly by involve the basic blocks for any kind of rethe Kapisanan ng porting: research, probe, inquiry, and cormga Brodkaster ng roboration to insure the validity of one’s Pilipinas or Assofindings. Th e JVOAEJ program serves as ciation of Broada memorial to recall the efforts of the late casters of the Philippines. It known to be Jaime V. Ongpin to strengthen the “alter- the broadcast industry’s most prestigious native press” during award-giving body. Its aim is to give due the latter years of the recognition to all broadcast practitioners, Marcos regime. stations and programs for their valuable and exemplary contribution and outCMMA standing achievements to the broadcast Th e Catholic Mass industry. Th e judges are usually from al Media Awards lied industries, advertisers and the aca(CMMA) was or- deme. ganized in 1978

For the complete article, visit http://en.wikipilipinas.org/index.php?title=Award-giving_bodies_for_Media_and_Journalism


8

T

h ese Filipino journalists have been witnesses to tumultuous events in the history of the Philippines as columnists, radio and TV newscasters, and commentators. They have shown great commitment to their work in pursuit of truth, accuracy, integrity, and fairness. In Philippine journalism, their names are the authorities- the trustees of fair reportage. Luis V. Teodoro writes political commentary for BusinessWorld. He was a teacher of journalism in the College of Mass Communications of the University of the Philippines, Diliman where he was Dean for 2 successive terms: 19941997 and 1997-2000. He is the chair of the Commission on Higher Education’s Technical Committee of Journalism Education. He was one of the honorees at Th e Many Faces of the Teacher 2007 wherein his excellence in teaching was recognized. Now deputy director of the Center for Media Freedom and Responsibility, Teodoro is the consulting editor

of the organization’s monthly mediamonitoring magazine PJR Reports. He is also the editor of the Philippine Journalism Review, a refereed journal for academics and senior journalists. Maximo V. Soliven was a prominent journalist and newspaper publisher. In a career that spanned six decades, he attained his greatest peak and influence with the Philippine Star, which he co-founded in 1986, and where he served as publisher until his death. His daily column, titled “By the Way” published in the Star, was one of the most widely read

For the complete article, visit http://en.wikipilipinas.org/index.php?title=Pillars_of_Philippine_Media


9

newspaper columns in the Philippines. She helped start Th e Probe Teamwith He was one of the 1960 TOYM Awardees Che Che Lazaro. Ressa was hired by CNN in 1987, for Journalism. continued her work with Probe, and beLuis “Louie” Beltran was gan managing Manila nightclub acts. In a Philippine broadcast 1995, CNN relocated the bureau to Jakarta, and Ressa lived there for about 10 journalist and newspayears before returning to Manila. per columnist. He hosted Straight from the ShoulFidela Magpayo, known der, a television show on the airwaves simply as in which analyzed current events. He Tiya Dely, was a Philipwas also the original host of the televipine radio broadcasting sion show Brigada Siete. He was the first icon well-loved by geneeditor-in-chief of the Philippine Daily Inrations of listeners and quirer. He also worked on other newspaadvice-seekers who tuned in to her radio pers, including the Philippine Star. counselling programs. She was a pioneer Beltran was known for his outsporadio broadcaster was among the first kenness. During Martial Law, when he wave of broadcasters who popularized was on the staff of the Evening News, he Filipino songs at a time when American was one of the many journalists arrestmusic dominated the airwaves. She was ed and detained at Camp Crame. After also a much sought-after newscaster, three months of imprisonment, being commentator, radio dramatist, writer, bankrupt, he bred fighting cocks. He and producer during her time. Because called the champion breed he developed of her long and outstanding service in “Newshawk.” the broadcasting industry, she came to be recognized as the “First Lady of PhilipMaria A. Ressa was the pine Radio.” Jakarta bureau chief of Th e veteran Magpayo is one of only CNN International. At a few people in the industry to have CNN, Ressa was lead worked in all media: theater, radio, film, reporter in East Timor, and television. Her career in broadcastIndonesia and the Philip- ing started when she was about eighteen pines, and was lead investigative reporter years old, after she joined radio comedifor Asia’s terror networks for the global ans Andoy Balunbalunan and Dely Ataywar on terror. She is also the writer of the Atayan as a group singer. She got her first book Seeds of Terror which contains her counselling program on radio station blow-by-blow account of the hideouts of dzRH in October 1953. She eventually Al-Qaeda. She now heads ABS-CBN’s transferred to the Lopez-owned dzMM. News and Current Affairs Department.


10

Educational Broadcasting

B

atibot w asnot the first educational program to be broadcast in the Philippines. Rather, it was a Japanese radio segment aired during the Japanese occupation in World War II that taught Niponggo to listeners. Th e first Filipino-made programs did not have dancing tur tles or hairy monkeys, either. Th ey were on the radio, and they tackled agricultural practices and useful tips for homemakers.

When television became a fixture in Filipino homes, broadcasting companies decided to import American programs to educate and entertain children. Some were localized, and featured Filipino hosts and children. Some, on the other hand, were merely dubbed in Filipino. It wasn’t until the 1980s that the first Filipino-made educational program aired on TV.

Radio schools

Th e first Philippine instructional radio broadcast was exciting in a scary way: it was in 1943 during World War II, when the Japanese used radio to teach listeners basic Niponggo as part of their cultural integration plan. After the Japanese left the country, learning programs took a backseat to news and entertainment, and it wasn’t until 1952 that Pacifico Sundario produced a “school-on-the-air” for Iloilo Farmers on AM radio station DYRI. In 1958, the University of the Philippines, Diliman (UPD) decided to es-

tablish a university radio station called DZUP, which transmitted from the College of Engineering. Six years later, DZLB was born in the University of the Philippines, Los Baños (UPLB) making it the oldest existing rural, educational, non-commercial entity in the Philippines. It started broadcasting in 1962 for an “experimental agricultural extension tool,” but offi cially went on air in 1964.

Talking birds and dancing turtles

In the 1960s, ABS-CBN decided to syndicate “Romper Room,” an American children’s program. Th e station featured canned shows at first, but was soon able to produce a Filipinized version featuring a Filipino host and children. Children’s Television Workshop programs have been in Philippine programming since the 1970s. “Sesame Street” was franchised in the Philippines as “Kalye Sesame,” but the show’s Filipino dubbing was shoddy…

For the complete article, visit http://en.wikipilipinas.org/index.php?title=Philippine_Educational_Broadcasting Photo: Batibot by tikbaloycube of DeviantArt


11

Reel Life

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w ard-w inningFilipina documentary director Ditsi Carolino is hailed by many for her raw and authentic films, all of which deal with basic human rights issues such as child labor and adult illiteracy. She had a hand in a number of the industry’s most acclaimed contemporary documentaries, a few of which are Minsan Lang Sila Bata, Masakit sa Mata, and Bunso.

Nearly all of Carolino’s documentaries are character-driven, and most, if not all, revolve around symbolic faces like the delinquent orphan and the unlearned elder.

felt the need to branch out into filmmaking. In 1990, Carolino attended a workshop on documentary production at the Mowelfund. After the workshop, she travelled to the UK under a two-year grant to pursue graduate Education and Career studies and entered a proCarolino initially took gram referred to simply as up Medicine at the UniAdvance Program at the versity of the Philippines. National Film and TeleviHowever, the militant sion School. sentiment during the Since finishing the film Martial Law Period influworkshop and her graduenced her to lean towards ate studies, Carolino has social science subjects indirected numerous docustead. She later shifted to mentaries, many of them Sociology and graduated on the lives and struggles in 1982. After college, she of the poor—rural and did social work for grassurban. She has worked roots communities in with long-time filmMindanao, documenting an assortment making partner and cinematographer of local issues through photographs and Nana Buxani in most of her documenslideshows. While working for a Davao- taries. based NGO, she attended a photography workshop. Soon after, she joined the Films breakthrough news magazine show Th e After learning about the trade in the early 1990s, Carolino started co-directing the Probe Team as a production assistant. Motivated by her close association Mowelfund workshop product Masakit with advocacy and outreach efforts, she sa Mata in 1991…

For the complete article, visit http://en.wikipilipinas.org/index.php?title=Ditsi_Carolino Photo of Ditsi Carolino from www.encounters.co.za.


12

L

a Solidaridad was the name of the all-Filipino organization established by the illustrados of Barcelona on 13 December 1888, which sought to create Filipino representation in the Spanish Cortes. It was also the name of the offi cial publication of the organization.

Th e Organization

Galicano Apacible was the first president of the La Solidaridad. With him were Graciano Lopez-Jaena as vice-president, Mariano Ponce as treasurer, and Jose Rizal, who was then in London, as Honorary President. Apacible did not remain long as president since could not hold the bickering reformists together. Th e organization needed people like Rizal and Marcelo H. del Pilar who could reunite the sentiments of the Filipinos in Spain. La Solidaridad was viewed as a rival organization to Miguel Morayta’s Spanish Orient Lodge of Freemasonry. Later, the two organizations collaborated in their petition to the Minister of Colonies. Th eir petition was as follows: (1) to have representation in the Spanish Cortes; (2) to abolish the censorship of the

press; and (3) to prohibit the practice of deportation of citizens through administrative orders.

Th e Publication

On 15 February 1889, through Jaena, the La Solidaridad newspaper was created. It served as the principal organ of the Propaganda Movement for over five years, with its last issue released on 15 November 1895. To quote the editorial in the first issue of La Solidaridad: “Our aspirations are modest, very modest. Our program, aside from being simple, is clear: to combat reaction, to stop all retrogressive steps, to extol and adopt liberal ideas, to defend progress; in a word, to be a propagandist, above all, of democratic ideas in order to make these supreme in all nations here and across the seas...�

For the complete article, visit http://en.wikipilipinas.org/index.php?title=La_Solidaridad


13

Killing Time

K

illin g Tim e in a Warm Place is Jose Y. Dalisay’s Palanca-winning novel about life during and after Martial Law. Following the experiences and recollections of a former activist, the novel allows for the juxtaposition of persons and contexts. It was first published in 1992 and won that year’s Manila Critics Circle National Book Award for Fiction. In 1993, it won the Palanca Awards Grand Prize for the Novel, and the UP President’s Award for Most Outstanding Publication. Synopsis

Th e novel has four parts which coincide with the four phases in the life of a man. Th e main character is Noel Ilustre Bula ong, a Visayan. Th e first part of the novel is dominated by images of his childhood in the quiet and simple province. Th e sense of innocence and simple happiness of being in tune with the rest of the world is prevalent until Noel’s first encounter with the still-on-the-rise Ferdinand Marcos. Th e second part of the novel moves to adolescence and the experiences of a student in the university. At this point, Noel loses his sense of order and innocence as he and his comrade-activists struggle against the tyranny and cruelty of President Ferdinand Marcos. Th is section paints a picture of how activist life was during Martial Law, describing the practices and routines— like secret huddles and singing of revolutionary songs with professors-- and

the landscape of UP that sheltered activists and served as stage for the Diliman Commune. Noel, as he reminisces about those times, reveals the future of his comrades as white-collar employees: contrast to their fiery young selves. Noel proceeds to tell the story of his imprisonment as a political detainee. Th e predominant image that follows is Noel as an adult already incorporated into the capitalistbureaucratic system he once fought; the sense of being lost to the cause after giving up his activism for a comfortable, ordinary life. At the end, however, Noel finds that in his heart, the struggle remains.

Notes

In one passage, Noel mentions how he would lose knowledge of his Tatay’s whereabouts but did not mind because Marcos was father to all Filipinos. Th is refers to Marcos’ frequent references in his speeches to his being the father of the country.

For the complete article, visit http://en.wikipilipinas.org/index.php?title=Killing_Time_in_a_Warm_Place Photo: Book cover from www.anvilpublishing.com.


14 WikiFilipino

Sulyap sa Liwayway

A

ng Liw ayw ayay isang magasin na naglalaman ng mga maikling kuwento at sunud-sunod na mga nobela. Dahil dito, naging paraan ito para mapalago ang kamalayan ng mga Pilipino. Dinala nito ang panitikan sa mga kabahayan ng mga pamilyang Pilipino. Bago pa man ang Digmaang Pasipiko, ang araw ng pagrarasyon ng magasin na ito ay talaga namang inaabangan ng mga miyembro ng pamilya at nagiging dahilan rin ng kanilang pagtitipon upang mabasa lamang lalo na ang mga nobela.

Ang Lalaki sa Likod ng Liwayway

Si Ramon Roces ay sumikat sa kasaysayan ng komiks dito sa Pilipinas bago pa man si Tony Velasquez. Mula sa lahing Espanyol, si Ramon ay nagmula sa isang mayamang pamilya na kilala sa larangan ng paglilimbag. Ang kanyang amang si Alejandro Roces, Sr. ay kinilala naman bilang ama ng peryodismo sa Pilipinas.

Ang Photo News

Tulad ng sinasabi sa pangalan pa lamang, ang Photo News ay isang magasin na naglalaman ng mga balita, sanaysay, at mga tula. Ito ay inililimbag sa pagitan ng dalawang linggo, at sa halagang 15 sentimos kada isang kopya. Nahahati din ito sa tatlong wika: Ingles, Espanyol, at Tagalog, upang maunawaan ng mga mambabasa ng tatlong pangunahing wika sa Pilipinas. Dahil dito, naisip ng mga mamimili na kung

hindi naman nila mababasa ang iba pang bahagi ng magasin, aksaya lamang sa kanilang pera ang pagbabayad ng buo kung hindi rin lang naman nila nauunawaan ang kabuuan ng babasahin. Dahilan dito ay ipinatigil na ni Ramon ang paglilimbag ng magasin bago pa man ito umabot ng isang taon. Matapos ang tatlong buwang pag-iisip, tinawagan niyang muli si Severino Reyes para ulitin ang Photo News. Sa pangalawang pagkakataon, pinili niya ang wikang Tagalog upang siyang gamitin. Inilipat nila ang tanggapan nito sa Calero Street, hindi malayo sa gusali ng kanyang ama, ang Taliba-La Vanguardia-Tribune (TVT).

Ang Simula ng Liwayway

Pinalitan ni Severino ang pangalan patungong Liwayway, na nangangahulugan ng “panibagong umpisa.�

Para sa buong artikulo, bumisita sa http://fil.wikipilipinas.org/index.php?title=Liwayway_Magasin Larawan: Liwayway Magasin mula sa koleksyon ni Dennis Villegas


WikiFilipino 15

A

ng MagandangGabi, Bayan o kilala ring MGB ay isang halimbawa ng news magazine na programa sa Pilipinas. Ipinapalabas ito noon tuwing Sabado ng gabi sa ABS-CBN. Huli itong ipinalabas noong ika-31 ng Disyembre 2005. Ang paghinto ng pagpapalabas nito ay sinasabing may kinalaman sa problema sa pagitan ng nagbabalita rito na kasalukuyang Bise Presidente na si Noli de Castro at ng istasyon mismo. May kinalaman ito sa nais sanang pagtuligsa sa kasalukuyang administrasyon ng pamahalaan. Ngunit dahil bahagi siya nito, tumanggi si de Castro na gawin ito. Pinagmulan

Nagsimula noong ika-6 ng Agosto 1988, ang naging anchor nito ay si “Kabayan” Noli de Castro. Sa simula, habang ipinalapalabas ito sa telebisyon ay kasabay namang napakikinggan sa istasyon ng radyo na nasa ilalim rin ng pagmamayari ng ABS-CBN, ang DZMM. Nang tumakbo siya sa Senado, humalili ang kanyang anak na si Katherine “Kat-Kat” de Castro. Bukod pa sa kanya, ilang mga mamamahayag din ng istasyon ang kasamang pumalit kabilang na sina Erwin Tulfo at Henry Omaga Diaz.

Nilalaman

Katulong ni de Castro ang mga miyembro ng programa na siyang nagsusulat, nagsasaliksik, kumukuha ng mga mahahalagang eksena sa pamamagitan ng kamera, at mga patnugot. Ang ginagawa ng programang ito ay ang pagpapakita, pag-aanalisa, pagpapalabas ng mga paksa at isyung napapanahon - mga krimen, korupsyon at eskandalo; at ang dating nito sa bansa at sa mga mamamayan upang maipahayag ang tapang ng tao at pagkabayani, maging ang pagnanais na maitaas ang bansa.

Para sa buong artikulo, bumisita sa http://fil.wikipilipinas.org/index.php?title=Magandang_Gabi%2C_Bayan


What is E-turo?

E-turo, a play on the words ‘electronic’ and ‘turo’ (meaning teach) is a network of free and open educational resources. Filipino teachers and learners can share and customize E-turo content for their own use. E-turo covers basic education, alternative education, and continuing education. E-turo focuses on developing an online repository for basic education in the areas of Mathematics, Science, English, Filipino and Social Studies. E-turo invites everyone from educators, students and parents, to publishers, programmers, instructional designers, authors and public officials throughout the Philippines to contribute or freely access quality learning materials.

How can I use E-turo materials?

Anyone with access to the Internet can use the material found on E-turo to teach themselves or others. Whether it’s algebra, reading, or physics, they will be able to access the material online, print it, and/or save it to a CD. E-turo has three levels of content: (1) curricula and learning strategies; (2) lesson plans; (3) enrichment exercises. Users of Eturo can mix and match content according to their needs.

Why should I get involved with E-turo?

Because helping others to learn is simply the right thing to do. With your valuable input, E-turo can help foster the exchange of ideas, whether among students and parents, or publishers and educators, all in an interactive community that makes it fun and rewarding to make a difference. Your assistance can come in many important forms. E-turo needs your help to make it grow for the benefit of Filipino teachers and learners. Donate your resources. Actively participate in the community. Use the materials available. Provide feedback. And most importantly, spread the word.

T he Philippines’ Free E-Learning Portal. www.e-turo.org


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T H E P H I L I P P I NE D I G I T A L L I B R A RY FULL TEXT AND SEARCHABLE DIGITAL LIBRARY OF PHILIPPINE BOOKS, DOCUMENTS, AND IMAGES.

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