The correct answer to this open question is the following.
Although there are no options attached we can say the following.
As a citizen of the Philippines, I am going to promote our different folk dances in other countries in the following ways.
I would establish an agreement with the national department of tourism to take the Philippines traditions to many international Expos in different parts of the world, including the International Touristic Fair of Acapulco, México, which is one of the most important touristic forums in the world.
The Philippines would have a major presence in these expos. A great booth where the country can show the travel agencies of the world and the millions of visitors that the Philippines is a fantastic country with paradisiac places and a great culture that include folk dances.
Indeed, as part of the show in those expos, I would include these folk dances as part of the attraction. This way, people and businessmen could see the beautiful dances first hand.
I would also include theater groups in the Philippines that specialize in original plays written in Filipinosuch as the Philippine Theather Education Asociation, Triumphant People's Evangelistic Theatre Society, Tanghalan Philipino, the Gantimpala Theater Association, and Tanghalan Ateneo.
Ans: Overall intense colors, repeated shapes or consistently hard edges create unity . A dominant color will also unify a painting.
The answer is B) the only method for recording images of people.
Answer:
because it allows an artist to use one or more images to replace another, in order to convey a message or idea. captures the meaning and importance of a subject through visual representation instead of words.
Manga Ormolu enters the dialogue on contemporary culture, technology, and globalization through a fabricated relationship between ceramic tradition (using the form of Chinese Ming dynasty vessels) and techno-Pop Art. The futuristic update of the Ming vessels in this series recalls 18th century French gilded ormolu, where historic Chinese vessels were transformed into curiosity pieces for aristocrats. But here, robotic prosthetics inspired by anime (Japanese animation) and manga (the beloved comics and picture novels of Japan) subvert elitism with the accessibility of popular culture.
Working with Asian cultural elements highlights the evolving Western experience of the “Orient.” This narrative is personal: the hybridization of cultures mirrors my identity as an ethnically-mixed Asian Canadian. My family history is one of successive generations shedding the markers of ethnic identity in order to succeed in an adopted country – within a few generations this cultural filtration has spanned China, India, Trinidad, Ireland and Canada.
While Manga Ormolu offers multiple points of entry into sociocultural dialogue, manga, by nature, doesn’t take itself too seriously. The futuristic ornamentation can be excessive, self-aggrandizing, even ridiculous. This is a fitting reflection of our human need to envision and translate fantastic ideas into reality; in fact, striving for transcendence is a unifying feature of human cultural history. This characteristic is reflected in the unassuming, yet utterly transformable material of clay. Manga Ormolu, through content, form and material, vividly demonstrates the conflicting and complementary forces that shape our perceptions of Ourselves and the Other.
