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The culture of the Philippines is characterized by cultural and ethnic diversity. [1] Although the multiple ethnic groups of the Philippine archipelago have only recently established a shared Filipino national identity, [2] their cultures were all shaped by the geography and history of the region, [3] [4] and by centuries of interaction with neighboring cultures, and colonial powers.
The knowledge of outsiders playing traditional kulintang has encouraged the younger generation of musicians in the Philippines, both in Mindanao and in Taguig, Metro Manila. [50] Enthusiastic appreciation by foreigners has given life to a dying tradition, and the music has become a unifying force in the Philippine diaspora. [ 33 ]
According to Reyes, Darna was the modern-day superheroine rooted and molded in Philippine folklore and tradition, while ZsaZsa Zaturnnah was "unarguably a postmodern text that could have emerged only in the twenty-first century, a period of awesome advances in science and technology, and/or frightening borderless wars."
All major Christian holidays are observed as official national holidays in the Philippines. Spanish culture and Christianity has influenced the customs and traditions of the Philippines. Every year on the 3rd Sunday of January, the Philippines celebrates the festival of the "Santo Niño" (Holy Child Jesus), the largest being held in Cebu City.
In the Spanish colonial era, Philip II of Spain decreed that the nobility in the Philippine islands should retain their pre-hispanic honours and privileges. [a] In the modern times, these are retained on a traditional basis as the 1987 Constitution explicitly reaffirms the abolition of royal and noble titles in the republic. [4] [5] [6] [7]
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In modern weddings, the more jolly pakiring dance is performed instead, or dance and music troupes with synthesisers are hired to handle the entertainment and dancing. Some songs that are popular during Tausug wedding pangalay/pakiring dances include Lolay, Daling-daling, and a variation of the generic Filipino folk song “Planting rice”.
The first is the exogenous model, a "foreign model", while the second is the indigenous model, or the "traditional model". The foreign model is described to be "legal and formal". The indigenous model is described as a "traditional and non-formal" model or guide, deeply embedded in the subconscious of the Filipinos. [5]