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Empowering Educators: Creative Writing and Arts Training at The Negros Museum
I’m in Bacolod City right now, attending the Husay Sining: Program for Teachers in the Arts Training Structure at The Negros Museum. This event, organized by the National Commission for Culture and the Arts (NCCA), is part of the continuation of the NCCA-DepEd Cultural Education Program (NDCEP), which aims to support the K to 12 Program of the Department of Education (DepEd). Husay Sining is a national training initiative aimed at offering participants extensive training in diverse art techniques. It prepares them to create artistic works, stage performances, organize exhibits, and give artistic direction to students. This year’s session emphasizes enhancing these abilities among educators.
As a member of the National Committee on Literary Arts of the NCCA, I have been tasked with training teachers in Creative Writing for the Special Program for the Arts. My topic is on effectively teaching the Short Story. I began my lecture with an important question: Are Filipinos still reading today? When the teachers answered yes, I followed up by asking what kinds of books they think Filipinos are currently reading. These two questions are crucial for us as creative writing teachers. They set the stage for understanding our students’ reading habits and preferences.
I emphasized to the teachers the significance of conducting an initial survey in the classroom before diving into the discipline of creative writing. As educators, we need to grasp the context of our students’ lives. It’s vital to know if they are still reading, what types of literature or reading materials they consume, the formats or platforms they prefer, and their reasons for continuing to read despite numerous potential obstacles.
Gathering this initial information from our students provides us with a unique opportunity. It allows us to tailor our readings and discussions to better meet their needs. This contextual understanding is key to engaging our students and supporting them in their creative writing journeys. The more we know about their reading habits, the better we can guide them in producing meaningful and relevant creative outputs.
After explaining the importance of conducting surveys in creative writing classes, I followed up with a presentation of the 2023 National Readership Survey from the National Book Development Board (NBDB). I highlighted key points from the survey that I believed would be beneficial for the teachers, giving them a glimpse into the reading habits outside their classrooms.
As a creative writing instructor, I think it’s crucial for us to understand what is truly happening in our communities. The NBDB survey offers an excellent way to see the national landscape of readership. For example, the survey reveals that the Bible, picture books, and romance novels are the most popular genres among adults, while picture books, short stories, and the Bible top the list for children. Print books remain the preferred format across most genres, with online access and e-books also being prevalent among both adults and children.
Regarding reading preferences, more than half of Filipino adults and children prioritize book availability, followed by affordability when selecting non-school books. The survey also indicates that 79% of adults and 58% of children cite self-motivation as the primary driver of their reading habits. Most adults prefer reading at home (87%), while children favor reading at school (69%). Both groups choose these locations for the quiet and focus they offer when reading Non-School Books (NSB).
Sharing this data with the teachers underscored the importance of staying informed about our students’ environments and reading behaviors. It’s not enough to teach creative writing in isolation; we need to connect it to the broader context of their lives. By understanding these trends, we can better tailor our teaching methods and materials to resonate with our students, ultimately fostering a more engaging and effective learning experience.
It’s also worthwhile to focus on other significant results from the survey. For instance, the survey reveals that most adults (39%) are willing to pay Php 99 and below for a printed, brand-new non-school book (NSB) from a physical bookstore. Additionally, the majority of adults (57%) and children (55%) prefer NSBs written by Filipino authors.
Another notable finding is that around 3 out of 10 respondents believe that “buying books is a luxury” (29% for adults and 31% for children).
These insights are incredibly valuable for us as educators. Understanding the financial constraints and preferences of our readers can help us recommend affordable and accessible reading materials. Moreover, knowing that there’s a strong preference for books by Filipino authors allows us to support and promote local literature, which can be more relatable and inspiring for our students.
Reflecting on these findings, I am reminded of the importance of making literature accessible and relevant to our students. By aligning our teaching materials with their preferences and realities, we can foster a deeper appreciation for reading and creative writing. This connection to the broader community not only enhances our teaching but also enriches our students’ learning experiences.
After revisiting the basics and fundamental elements of teaching short stories, I shared some new methods to make teaching short stories and creative writing more meaningful and interesting for today’s students. Here are the strategies and activities that teachers can implement in their creative writing classrooms when they return to their schools:
Firstly, inviting the author, if alive, to the classroom provides a firsthand encounter that offers unique insights and inspiration directly from the source. Also, visiting the author’s home allows students to witness the everyday life of a Filipino writer and observe the spaces where their favorite stories are crafted, fostering a tangible connection to the creative process.
Furthermore, exploring museums that house original manuscripts or unpublished works of authors offers students a tangible link to the literary world, enriching their appreciation for the historical and cultural contexts of the literature they study. Another enriching activity involves inviting a book publisher to discuss the journey from manuscript to publication, offering students valuable insights into the publishing process and inspiring future writers.
Moreover, integrating cultural immersion activities related to the story’s setting, such as traditional music, food, and customs, enables students to deepen their connection to the narrative by experiencing its cultural backdrop firsthand. Finally, linking the story with other subjects like history, science, or mathematics through cross-curricular integration enriches understanding and encourages critical thinking across different disciplines. These activities collectively enhance students’ comprehension and appreciation of Filipino literature while fostering a deeper engagement with the stories and their creators.
As a culminating activity for creative writing classes, here are several engaging options teachers can consider: Firstly, students can embark on creating a Literary Map that documents the stories and writers within their community. This project not only showcases the breadth and diversity of local literary works but also identifies significant landmarks and events, fostering a sense of pride and connection to their community’s literary heritage. By mapping out these literary treasures, students gain a deeper appreciation for the cultural richness embedded in their surroundings.
Secondly, teachers can organize a Writers’ Exhibit to honor local literary figures who have contributed significantly to the growth of literature in their language and community. This exhibit can be designed to tour other schools or be open to the public, offering a broader audience insights into the local literary scene. Such showcases not only celebrate the achievements of local writers but also serve as inspiration for aspiring young writers, encouraging them to explore and contribute to their literary traditions.
Thirdly, conducting Video Interviews with local writers and sharing them on platforms like YouTube can amplify their voices and works. These interviews provide a personal glimpse into the minds and processes of writers, making their stories more accessible to a wider audience. These recordings can serve as valuable educational resources, offering insights into the creative journey and literary inspirations that students can learn from and be inspired by.
Also, recording Literary Readings by authors themselves and making these recordings available on platforms such as Spotify enhances the immersive experience of literature. Listening to authors read their own works brings an intimate dimension to the stories, allowing listeners to connect more deeply with the narrative as intended by the creators. This initiative not only preserves the authenticity of the literary voice but also provides a convenient way for people to enjoy literature on-the-go, further enriching their understanding and appreciation.
Lastly, creating Short Videos tailored for platforms like TikTok Reels can effectively engage a younger audience with literature. These videos can feature captivating snippets from stories, intriguing insights into authors’ lives, or quick summaries that pique curiosity. By leveraging creative visuals and storytelling techniques suited to the TikTok format, these videos can ignite interest in literature among younger generations, bridging the gap between traditional storytelling and contemporary digital platforms.
These are just some of the topics we discussed during the two-day teacher training session. As a fellow creative writing teacher, I hope that initiatives like these, supported by the NCCA in partnership with regional writers and cultural workers, will continue for many years. Such programs provide public school teachers with the opportunity to enhance their teaching skills in creative writing and other artistic disciplines. Overall, my experience as a trainer in this teacher training program has been incredibly rewarding. I hope that the teachers who participated will carry the lessons we’ve shared into their classrooms and communities. Until next year!
Noel Galon de Leon is a writer and educator at University of the Philippines Visayas, where he teaches in both the Division of Professional Education and U.P. High School in Iloilo. He serves as an Executive Council Member of the National Commission for Culture and the Arts-National Committee on Literary Arts.
Pagpapakilos sa Gahum ng Wika: Pagbasa ng“The Woman Who Outshone the Sun” ni Rosalma Zubizarreta
Pagpapakilos sa Gahum ng Wika: Pagbasa ng“The Woman Who Outshone the Sun” ni Rosalma Zubizarreta
Noel Galon de Leon, University of the Philippines Visayas
Kagabi, habang pinipilit kong makapagsulat ng sasabihin ko ngayong araw ay nagbasa muna ako ng isang children’s illustrated book na nabili ko sa Booksale, ang The Woman Who Outshone the Sun, sa pag-asang baka may maibahagi akong mahalagang punto pagkatapos kong mabasa ang kuwento.
Ang The Woman Who Outshone the Sun ay isinulat ni Rosalma Zubizarreta noong 1986, isang bilingual teacher at translator na naninirahan sa San Francisco, California. Inspirado ang kuwentong ito sa tula ni Alejandro Cruz Martinez, isang Zapotec poet na naglaan ng maraming panahon at oras ng kaniyang buhay upang tipunin at pag-aralan ang oral traditions ng mga miyembro ng mga katutubong naninirahan sa Oaxaca sa timog Mexico, kasama na dito ang kuwento ni Lucia Zenteno.
Sa kasamaang palad, pinatay si Martinez noong 1987 habang nag-oorganisa at nakikibaka upang tumulong na mabawi ang mga karapatan sa tubig ng mga Zapotec Indians. Ang libro ay may mga dibuho o illustrations ni Fernando Olivera, isang pintor mula sa Oaxaca, Mexico na noon ay hangang-hanga na sa husay ng kuwentong The Woman Who Outshone the Sun. Para sa kaniya, hindi lamang ito simpleng kuwento para sa mga bata, kundi isang mahusay na halimbawa ng kung paano ang mga kuwento ay maaaring maging kasangkapan sa pagpapahayag ng kahalagahan ng kultura, kasaysayan, at pakikipaglaban para sa karapatan.
Isinasalaysay ng kuwentong ito ang alamat ng Zapotec ni Lucia Zenteno. Tungkol ito sa isang magandang babae na tumira sa isang nayon (village) na nagtataglay ng mahiwagang kapangyarihan. Sa kaniyang pagdating, napansin ng mga tao sa nayon na iba ito sa kanila sa maraming paraan. Naaakit ang kalikasan kay Lucia. Kapag siya ay naliligo, ang ilog ay dumadaloy sa kaniyang buhok, at kapag sinusuklay niya naman ang kaniyang buhok, ang ilog ay umaagos pabalik.
Ang mga matatanda sa nayon, palaging paalala sa mga tao na maging mabait kay Lucia. Gayunpaman, may mga taganayon na natatakot kay Lucia, at hindi maganda ang pakikitungo sa kaniya, dahilan upang lisanin nito ang lugar. Nang umalis si Lucia, ang mga ilog, at mga hayop ay sumasama sa kaniya, walang naiwan sa mga taganayon. Nang mapagtanto ng mga tao ang kanilang pagkakamali, nagmadali silang hanapin si Lucia upang humingi ng tawad rito. Sa pagtatapos ng kuwento, pinatawad ni Lucia ang mga tao, at ang mga hayop, at ilog ay bumalik sa nayon.
Pagkatapos kong mabasa ang kuwento, dalawang bagay ang naglaro sa isip ko: Una, ang kapangyarihan ng wika upang makapagpabago ng papanaw, at ikalawa, ang wika bilang instrumento upang pakilusin ang tao.
Sa daloy ng kuwentong The Woman Who Outshone the Sun, hindi lamang ginagamit ang wika upang muling isalaysay ang folklore o bigyang hubog ang kasaysayan ng partikular na lugar. Dito, sa ginawa kong pagbasa, nakita kong sumasalok ang kuwento ng kaalaman sa mismong memorya ng sariling bansa, ang Oaxaca, Mexico. Na kung tutuusin ay hindi rin naman talaga nalalayo sa karanasan ng Filipinas.
Sa loob ng hindi bababa sa apat na siglo, ang mga Zapotec ay nakibaka laban sa kolonyalismo. Noong 1981, matagumpay na hinamon ng mga tao ng Juchitán (ha-tsi-tan) ang sistemang iisang partido ng Revolutionary Independence Party (PRI), na namuno nang mahigit animnapung (60) taon, at bumoto sa isang progresibong partido, ang Coalition of Workers, Peasants and Students of the Isthmus (COCEI).
Sa ilalim ng bagong pamahalaan, itinayo ang mga kalsada at paaralan, klinika at aklatan, umunlad ang mga pampublikong programa at nagkaroon ng kultural na pamumulaklak. Noong 1983, upang sirain ang kapangyarihan ng COCEI, nagpadala ang PRI ng mga mapaniil na pwersa na lantarang pumatay at nagpalaho sa mga pinuno ng kilusan, na naging kilala bilang “los desaparecidos” o ang nawawala. Ang pakikipaglaban para sa lupa at tubig ay kanilang krimen, at si Alejandro Cruz Martinez ay isa sa maraming nasawi sa panunupil na ito.
Ang paghahain ng ideya, na ang wika at panitikan ay kapangyarihan ng marhinalisado ay hindi na bago sa larang ng malikhaing pagsulat. Napatunayan na mismo sa ating kasaysayan na kakampi ng mga inaapi ang kanilang wika at panitikan. Sa kuwentong The Woman Who Outshone the Sun, hindi lamang simpleng ginagamit ang wika at panitikang pambata upang itala ang kuwento, ngunit malay na ginamit ang wika at panitikang pambata upang ipakita ang kuwenta ng kuwento— ang pagsisiwalat ng mga paglabag sa karapatang pantao katulad ng pagdadamot sa kanila ng kanilang karapatan para magkaroon ng access sa tubig, na siyang pangunahing pangangailangan para mabuhay.
Sa Filipinas, nakalulungkot na usapin ang access sa tubig. Hindi libre ang tubig, iilan lang sa atin ang may access sa malinis na tubig. Halimbawa, kahit sa mismong unibersidad natin ay wala tayong libreng tubig na maiaalok upang mainom ng ating mga estudyante. Kung karapatan ang pagkakaroon ng access sa tubig ayon sa Section 503 ng Civil Code of the Philippines, bakit kailangan nating magbayad ng malaki sa tuwing nakararamdam tayo ng uhaw?
Ayon sa Water Code, ang lahat ng tubig na nasa teritoryo ng Filipinas ay pagmamay-ari ng estado. Dahil dito, hindi na maaaring pagmay-arian ng sinuman ang mga anyong tubig gaya ng dagat, lawa, ilog, at maging anumang uri ng tubig sa ibabaw man o ilalim ng lupa, tubig ulan, tubig sa poso, sa kanal, sa estero, at kung saan-saan pa. Para lang malinaw, ang ibig nating sabihin dito ay walang pribadong tao ang nagmamay-ari ng tubig. Ibig sabihin, lahat tayo ay dapat may access dito. Ang tanging gampanin ng pamahalaan ay i-regulate ito para sa ikabubuti ng lahat.
Kaya ang pagbasa ng The Woman Who Outshone the Sun ay isang mahalagang paalala sa ating lahat sa tungkulin ng ating wika at panitikan, na ang panitikan sa pinakasimple nitong pagpapakahulugan ay isang politikal na gawain naman talaga. Hindi lamang tayo nagsusulat ng maikling kuwento, ng tula, o talumpati dahil may kakayahan tayong gamitin ang ating wika, ngunit nagsusulat tayo, at isinusulat natin ang isinusulat natin hindi lamang dahil gusto natin, ngunit dahil alam nating kailangan itong isulat, at kailangan itong pag-usapan upang himukin tayong kumilos.
Hindi dapat natatapos sa pagsulat o pagbasa ang tungkulin natin, katulad ni Alejandro Cruz Martinez, bago siya pinatay noong 1987 naging parte siya ng makatotohanang pagkilos—kung tutuusin, ano nga ba naman talaga ang papel ng wika at panitikan kung nabubuhay lamang ito sa mga papel at imahinasyon natin?
At dito ko gustong tapusin ang mensahe na ito, mula pa rin sa aral na maaari nating mapulot sa kuwentong The Woman Who Outshone the Sun: Nagpapatuloy pa rin ang pagsasantabi sa marami nating mga kapatid na katutubo mapahanggang ngayon, kaya diring-diri talaga ako sa mga manunulat na kilala ko sa tuwing nananalo sila ng writing awards o publishing grants ng mga isinulat nila tungkol sa mga katutubong komunidad na ni minsan ay hindi mo naman nakitang nakilahok sa diskusyon, o sumama sa mga pagtitipon o rally para i-amplify ang mga ipinaglalaban ng mga komunidad na minsan nilang naging topic sa kanilang mga isinulat na kuwento o nobela.
At ang mas malala, ang mga iskolar natin sa mga unibersidad sa bansa na nabibigyan ng oportunidad upang ma-regularized, o ma-tenured sa kanilang mga respective disciplines dahil sa mga pananaliksik nila sa mga katutubo, ngunit hindi mo na nakitang bumalik o nagpakita ng malasakit sa mga katutubong komunidad natin sa panahon ng pandemya. Ang ganitong praktis sa larang ng pananaliksik, at maging sa malikhaing pagsulat ay isang uri ng kolonyalismo na hindi natin dapat tularan.
Para sa mga batang manunulat na kasama natin ngayong araw, hindi lamang pagsusulat ang tungkulin ng pagiging manunulat sa panahon natin ngayon. Kailangan natin ng mga manunulat na makatao, may pagpapahalaga sa karapatang pantao, mga manunulat na hindi lamang aambisyunin na makapagsulat para manalo sa mga patimpalak, ngunit mga manunulat na kinikilala na ang wika ay isang kapangyarihan upang magpakilos para sa ganap na pagbabago.
(This paper was delivered by the author on December 7, 2022, at University of the Philippines Visayas for the Patimpalak sa Talumpati with the theme “Ang Gahum ng Wika sa Malayang Paninindigang Pangkasarian at Kultural.” The said event was sponsored by the Sentro ng Wikang Filipino, UPV Gender and Development Program, and UGSAD Regional Gender Resource Network.)
Paglalako ng Pangako sa Pag-ibig ni Jessa Zaragosa (Isang Flash Essay)
Paglalako ng Pangako sa Pag-ibig ni Jessa Zaragosa
ni Noel Galon de Leon
Walang tama’t maling hindi mali sa ngalan ng pag-ibig.
– Jessa Zaragosa
Sinusulat ko ito ngayon gamit ang aking cellphone habang hinihintay ang aking sasakyan na makasampa sa ro-ro (roll-on/roll-off) pabalik ng Iloilo. Kagagaling ko lang sa maikling bakasyon sa isla ng Guimaras, isang semana bago magsimula ang pasukan. Habang naghihintay sa pila, gin-download ko ang album ni Jessa Zaragosa sa Spotify. Isa siya sa mga iniidolo kong mang-aawit noong nasa elementary ako. Ang totoo, kabisado ko ang mga sikat nitong kanta gaya ng Ibigay Mo Na, Hindi Na Bale, at Bakit Pa? na pinapakanta at inaarte ko noon, dahil utos ng mga nakatatanda kong pinsan.
Bukod sa mga kantang nabanggit, may mga kanta rin si Jessa Zaragosa na hindi masyadong pamilyar sa ating lahat (o baka sa akin lang), tulad ng kantang Sa Ngalan ng Pag-ibig na gin-compose nina Jonathan Manalo, Kiko Salazar at Jerry Gracio. At itong kantang ito ang gusto kong pagnilayan sa aking byahe ngayong umaga, ang konsepto ng “Walang tama’t maling hindi mali sa ngalan ng pag-ibig.” Linya mula sa kanta na nakakuha ng atensyon ko para pag-isipan ang gustong sabihin ni Jessa Zaragosa bilang isang Phenomenal Diva at Jukebox Queen of the 90s.
Alingawngaw ng too much love will kill you
Simple lang, at siguro narinig na natin sa maraming naunang kanta ang konsepto ng pag-ibig na inilalako ni Jessa Zaragosa sa kantang ito: ang labis na pagmamahal at ang pangako kahit hanggang kamatayan.
Hindi mahirap unawain o pasukin ang konteksto ng kanta. Ang pagiging literal at prangka nito sa nais iparating sa nakikinig ang mahalagang elementong taglay kaya tila nagmumukhang “okey lang” o “okey na” ang ganitong klase ng pag-ibig na inilalako bilang original pinoy music o OPM noong panahong ito (1997). Parang sinasabing hindi mo kailangang maging malalim kapag nagmamahal, umibig at sapat na iyon, palagi.
Masisisi ba natin ang mangingibig kung ito ang alam niyang gawin: ang magmahal ng higit pa sa sarili dahil sa pangako ng pag-ibig na walang masama lalo na kapag ang ginagawa o ang isang desisyon ay para sa minamahal? Ito ang premise ng kanta, na okay lang na ibigay ang tanan-tanan sa pag-ibig, na okay lang kalimutan ang sakit ng nakaraan, at gawing alaala na parang langit kung ang kapalit ay ang pangarap na pag-ibig, hanggang sa kamatayan, sa ngalan ng pag-ibig.
Pagdambana sa pag-ibig at ang panganib ng/sa tanan-tanan
Kaligtasan ang pagtingin ni Jessa Zaragosa sa pag-ibig. Parang wala nang ibang paraan para lumigaya kundi ang umibig at ibigin pabalik. Ang pagbanggit mismo rito ng mga salitang “hanggang kamatayan,” “kahit hanggang saan,” at “sa ngalan ng pag-ibig” ay nagpapakita lamang ng kakitiran ng isip ng mangingibig tungkol sa pag-ibig na mayroon siya para sa minamahal. At ang ganitong pananaw o pagtanggap sa pag-ibig ay magpapatuloy sa kanyang mga susunod na kanta gaya ng Ikakasal Ka Na, Maghihintay Sa ‘Yo, at Laging Ikaw. Ang rason, dahil may demand mula sa hanay ng publikong api ng/sa pag-ibig.
Ang mga ganitong uri ng kanta ang nagtutulak sa atin na kalimutan ang ating sarili kapag nagmamahal, upang higit na isaalang-alang ang damdamin at kaligayahan ng ating minamahal. At ang pagpanig-subscribe sa ideya na “Walang tama’t maling hindi mali sa ngalan ng pag-ibig” ay isang pananaw na nagtatakwil sa konsepto ng “to love oneself is the beginning of a lifelong romance” ni Oscar Wilde. Ipinaaalala nito sa atin ang kahalagahan ng pagmamahal sa sarili upang maipakita ang pagmamahal sa iba.
Kapag ang isang mangingibig, katulad ng persona sa kantang ito ay labis na isinasandig sa iba ang sariling kaligayahan at sense of self-worth, maaari itong magresulta sa emotional imbalance at inability to function independently. Kaya maaaring ipagpalagay ng mga nasadlak sa ganitong patibong, na ang kaligtasan ng mangingibig ay ang ibigin lamang pabalik, nabubulag siya na ito lamang ang maaaring mukha ng pag-ibig.
Kapag nilalamon ka na ng inaakalang mong pag-ibig patungo sa kumonoy ng “sabihin lang na ako ang mahal mo” ay hindi na ito mabuting pag-ibig. Wala itong ipinapangako kundi kamatayan ng sarili. At ito ang natutuhan ko ngayong hapon: na palaging nariyan ang pag-ibig ngunit hindi ito palaging para sa atin.
26 Agosto 2023
Jordan Roro Port
Guimaras
ILOILO MEGA BOOK FAIR: Six Years of Empowering Local Literature
ILOILO MEGA BOOK FAIR: Six Years of Empowering Local Literature
By Patricia Angela Gallon
It has been a long dream for many Ilonggos particularly the local writers to be given a platform and space to advertise their books, be empowered to develop and professionalize the book industry, particularly in Western Visayas, to preserve local languages, and promote local literature; and for six years ago, that dream has come true.
The Iloilo Mega Book Fair (IMBF), a project that was launched in 2018 in partnership with Kasingkasing Press, Hubon Manunulat, Book Latte, and Iloilo Festive Mall, has come a long way. Currently, it organizes workshops aimed at professionalizing the book industry, such as those for children’s book illustrations. On April 27–30, 2023, it will celebrate its sixth year at Iloilo Festive Mall with the theme “Pagtib-ong sa Rehiyon/Celebrating the Regions.”
“This initiative aims to produce books written in the Kiniray-a, Hiligaynon, and Aklanon languages annually and gather all creatives and content producers of Western Visayas,” said Noel de Leon, the project director of IMBF, when asked about the purpose of the Iloilo Mega Book Fair.
Apart from Atty. Rayboy Pandan, a Palanca awardee and the keynote speaker of this event, another highlight of this year’s book fair is the Iloilo Drag and Cosplay Community, indicating that the IMBF is not just a celebration of books but also of local artistry.
“We want the Book Fair to be performative. Aside from having access to books, we can also sit in performance. We want our stories to be performed,” de Leon added, explaining the objective of IMBF for this year. The theme of this year’s IMBF anticipates a highlight of local colors, local narratives, and local initiatives.
Introducing local literature into the mainstream Iloilo Drag Queen and Cosplay Community could further the cause of preserving and promoting local languages and literature as well as nurture an appreciation and love for our local characters. Our book industry needs to stay up-to-date and adapt popular culture as our society continues to advance and move forward with the changing times.
“There are a lot of people who believe that our local languages are inferior compared to the English language. We need to decolonize the mentality of the Ilonggos, especially the young people, towards our own, especially in the possibility of writing or producing books,” the founder of Kasingkasing Press elaborated on the significance of Iloilo Mega Book Fair as a platform for writers.
Since its founding in 2018, the Iloilo Mega Book Fair continues to make a significant impact on Western Visayas. From a time when there was no reading community and only a few people bought books in their local language up to the present when the production of local literature is fiercely competitive with mainstream publishers, many people have begun to aspire to read or write local literature, or try their hand at publishing or illustration. These are the results of the Iloilo Mega Book Fair’s professionalization of the local publishing industry.
The younger generation can support local writers, illustrators, and publishers by continuing to buy and read their books, promote and talk about these books, partner with the projects organized by IMBF, and visit the book fair itself, all of which will help further this cause. Without a doubt, IMBF has left a lifetime legacy that will inspire future generations of local writers and creatives to come.
ALAALA NG PANDEMIC eBOOK, Antolohiya ng Piling Sanaysay Mula sa Grade 12 HUMSS ng UP High School in Iloilo
i-click lamang ang download sa ibabang bahagi ng post na ito.
Alaala ng Pandemic: Isang Introduksyon
Noel Galon de Leon, UP Visayas
I just finished grading my students in creative writing. And I will admit, masaya ako bilang guro na nakapagbigay ng mataas na marka sa aking mga estudyante, especially those who have demonstrated their ability and proficiency sa aking klase sa Malikhaing Pagsulat, at sa paggamit ng kanilang napiling wika upang ikuwento ang kuwenta ng sarili nilang danas as beginning writers.
It’s not really about the grades. Sa personal kong paniniwala, learning creative writing will never be about grades. Mas ikinagagalak ng aking kasingkasing na makapagbasa ng mahuhusay na kuwento mula sa aking mga estudyante who are aware of the importance of recognizing one’s own weakness, and how it can be translated as narrative that can be considered creative kaya naman tunay na mas kabilib-bilib.
Naalala ko bigla ang batang ako, when I was just starting out and still experimenting with writing. A lot of what I write back then is revealing my own experience about love and paglaladlad, wala akong pakialam kung sino ang makabasa. Ang alam ko lang at malinaw sa akin noon, gusto kong magsulat.
So, when I first read the personal essays in this collection from some of my students, it was as if I was just listening to the child I was: excited, eager, but amazed at the courage they had to recount their experience over the past two years of the pandemic.
At a time when the government is openly underestimating the ability of the Filipino people, the system controls the freedom and liberty of artists, and the self-interest of politicians is stifling the state of creation at pagkilos sa bansa here is an anthology of personal essays that will strengthen sa komentaryo natin na our government is worthless at a time when we would have needed it more.
Hindi sapat na maging mahusay lamang tayo bilang manunulat, o artist sa napili nating sining. We need to emulate the young writers included in this anthology how to confront and interrogate ourselves, and our privileges to bring us back to the real reason why we need to write: to be free, and finally liberate our feelings para sa isang lipunang mas katanggap-tanggap sa hinaharap dahil kinikilala ang karapatan ng tao, at ng mga bata para sa isang desenteng buhay.
Iniimbitahan ko kayong lahat na katulad ko, to experience and listen to the story of the writers in this anthology who will not only teach us how they overcame the pandemic, but also how literature and language can be viewed as allies that saved them mula sa panahon ng pandemya, pag-aalinlangan, at pandarahas ng estado.
Mabuhay kayo, you young writers who are not afraid na ikuwento ang kuwenta ng inyong panahon!
eBook Access Here:
Lampas kay Barrios at Apostol, Ito Ang Dapat Mabatid ng Komunidad
Noel Galon de Leon/UP Visayas/July 2022
Una, napakahalaga ng kritisismo sa isang umuunlad na bayan, lalo sa larang halimbawa ng art at literature. Sa isang artikulo ni Lumbera na may pamagat Engaged Art and Literature: Mahalaga Pa Ba ang mga Ito Ngayon? binanggit niyang kapag may sinasabi ang sining at panitikan tungkol sa lipunan, mahalagang saksihan at pakinggan ang mga ito. Sa unang basa, maaaring maipagpalagay na patungkol lamang ito sa usapin ng pagkunsumo-tangkilik ng sining at panitikan. Ngunit kung pag-aaralan ang naging kasaysayan ng paglikha ng mga ito sa bansa, tatambad sa atin ang malalim na pinag-ugatan nito: mulang pagtutol sa kolonyal at imperyalismo na pananakop, pag-reclaim-assert ng sarili, hanggang sa pagsisiwalat ng karahasan at karalitaan, patuloy na panggigipit, at walang puknat na panawagan ng hustisya at saklolo.
Ito sa palagay ko ang maaaring maging isang alternatibong konteksto kung bakit kailangan nating maunawaang mahalaga ang tangkang ito ni Barrios, sa kaniyang sinimulang Iloilo art kritik, na itala at/o imapa ang kontemporaneong danas ng pagtatanghal ng sining sa Iloilo, at dalhin ito sa isang antas ng diskurso na nakaangkla sa lente ng isang maka-Filipinong pagbasa.
Ikalawa, espasyong pulitikal ang lahat ng espasyo, at ang isang malinaw na halimbawa nito sa konteksto ng review ni Barrios, ay ang mall kung saan itinanghal ang Bloom 2.0. Bagaman hindi lantarang gina-problematized sa review ni Barrios ang pulitika ng espasyo ng mall bilang lugal ng pagtatanghal, napaka-importanteng malaman ni Apostol, at ni Barrios na pribado-publiko ito: ang mall kung saan naitanghal ang exhibit, at ang blogsite bilang virtual space kung saan nakalagak ang review. Na maaaring tingnan rin bilang isang limitasyon sa kalagayan ng paglikha ng sining at pagsulat ng kritisismo sa ngayon. Sa tingin ko, matagal na dapat nating binitawan ang fantasya ng espasyo ng pagtatanghal sa mall. Lampas sa usapin ng kita, importante ring itanong, lalo na sa mga panahong ito kung sino ang gusto nating impluwensyahan ng ating sining.
Kung gayon, dahil pulitikal ang espasyo, katulad ng SM City Mandurriao na pinagmumukhang pampubliko ang pribado, talagang magiging problematiko ang pagtatangka na bigyan ng kahulugan ang sining, at ang mismong proseso ng paglikha ng kahulugan lampas sa nais na kahulugan ng artist. Hindi sapat na basahin sa lapit at layo ng tingin ang art, lalo na sa kasalukuyang paraan ng pagma-mount at pagku-curate na namamayani sa imahinasyon ng ating mga artist sa Iloilo. Hindi natin mabubuwag ang mentalidad na hinubog ng kolonyal na kasaysayan kung takot tayo sa kritisismo, at kung palaging nauuwi ang diskurso sa what are your credentials to begin with? Are you really an art critic?
Ikatlo, hindi body of works ang magtatakda ng kabuluhan ng ambag at husay ng isang artist sa kaniyang komunidad. Napatunayan na sa kasaysayan ng paglikha ng sining at panitikan na hindi ang dami, kundi ang radikalisasyon ng pagpanig ng sining sa mga wala at/o ninakawan ng boses sa iba’t ibang panahon at yugto sa kasaysayan. Kaya palaging lumalampas ang ideya ng paglikha sa usapin lamang ng “hilig” at “libangan”. Inaasahan dito palagi ang pakikisangkot nito hindi lamang upang makapagpatuloy ang diskurso, kundi maging ang pagpoposisyon ng art mismo sa sarili nitong panahon, at ang interogasyon kung kailan at bakit ito nalikha. Mangyayari lamang ito, ayon kay Lumbera sa kaniyang librong Suri: Probing the Literary Text kung ang kritiko ay hindi lamang manunuri para sa kaniyang personal na kasiyahan, kundi lalo’t sa ikatatalim ng pagbasa na makapagdudulot sa mambabasa ng mas malalim at matimyas na pakinabang sa kaniyang pagharap sa malikhaing akda.
Kaya hindi rin talaga maaaring maihiwalay ang kritisismo bilang sining ng paglikha dahil may inihahain itong tindig at posisyon, maganda man o hindi sa pandinig ng artist at publiko. Puwede itong sumikil ng interes at magsaayos ng salimuot sa tunggalian ng iba’t ibang puwersa ng pulitika kung bakit tila parang kay hirap gisingin ng sandali sa paglikha, o ang mismong malay na akto ng pakikisangkot at pagpanig sa higit na nangangailangan upang tuluyang magtagumpay ang sariling tinig ng/sa sining. Hanggat malabo ito at hindi tiyak sa mga artist at manunulat, mananatiling nariyan lang ang paglikha kahit wala naman talaga itong sinasabi upang iangat ang diskurso, at tuluyang himukin ang sambayanan upang kumilos.
Ikaapat, tungkulin ng intelektuwal ang maging mapanuri. Katulad ng artist, kasalanan sa bayan ang ituring ang iyong sarili na intelektuwal ngunit hindi naman nakikisangkot sa laban ng sambayanan. Ito sa palagay ko ang nais sabihin ni Barrios nang klasipikahin niya ang ilan sa mga artwork sa Bloom 2.0, at sabihing: matuturing nga lang na hindi pa mulat ang nilalaman ng kanilang artwork sa kadahilanang hindi malinaw ang pagkakaroon ng pagsulong para sa pagbabago. Sa madaling salita, hinahamon ni Barrios ang mga artist sa nasabing pagtatanghal na lumubog pa sa komunidad, at hindi lamang makisawsaw sa teorya at praktika ng feminisasyon ng mga bagay-bagay na hindi tuwirang pumapaksa sa pakikibaka at pagpupunyagi ng maka-feministang pagtatampok.
Kaya patuloy nating hahanapin ang idealisasyon ng babae sa Bloom 2.0 mula mismo sa mga babaeng artist katulad ni Apostol, kung paano isinusulong ng mga lalaking artist na kasama sa pagtatanghal ang idealisasyong ito, at iba pang imahinasyon upang isulong ang tunay na layunin kung bakit kailangang itanghal ang partikular na babae gamit ang metapora ng bulaklak sa panahong marami ang pinapatay at laganap ang revisionism at paglimot. Kung hindi ito nasasagot sa una pa lang, sa antas literal, sa pagtingin ng madla sa pagtatanghal at pagsulat ng kritika ay malabo na ang pagkaklasipika sa art bilang tulog, gising, at mulat ay wala ring saysay dahil walang paghimok o malinaw na puwersa na maaaring patunguhan ng mga diyalogo.
Kaya maaaring tanungin ang sarili bilang artist at kritiko, paano gina-elevate ng art at piraso ng kritika ang danas ng pagtunghay at pagkunsumo sa art sa kasalukuyan, lalo na sa usapin ng danas-kasarian ng mga babae bilang Filipino at hindi lamang bilang Ilongga?
Bilang pangwakas, sa mga ganitong klaseng pagkakataon ay magandang balikan at/o gamitin bilang lente ng pagninilay-nilay sa estetika ng isang akda, likha, o teksto ang konsepto ng “dating” na unang ipinakilala ni Lumbera. ‘Ika niya, ang isang pintura, tugtugin, o pagtatanghal ay “dumarating” sa audience na nakaabang—parang destinasyon sa isang paglalakbay—sa magaganap sa kamalayan nito. Ang kaganapan ng pagsapit ng likha, ang “dating” ng likha, ay tinutugunan ng nagmamasid sa pintura, nakikinig sa tugtugin, at nanonood sa pagtatanghal.
Kung gayon, importante na may matang nagbabantay sa nililikhang sining. Importanteng alam natin ang pulitika ng espasyo, ng publiko, ng pribado, ng publiko-pribado dahil isa itong puwersa na tumutulong para maipasa ang kahulugan, upang mabago ang kahulugan, o mawalan ng kahulugan ang isang sining. Para sa pinakapayak na salita, kailangan natin ang mga katulad ni Barrios hindi lamang upang itanghal ang kaniyang husay bilang kritiko, kundi upang sagipin at palayain ang marami sa atin sa paniniwalang wala na tayong igagaling pa.
At sa panahon ng mapagpasiyang kondisyon, higit na kailangan nating marinig ang tinig ni Apostol, ang kaniyang konteksto, at hugot upang mailugar natin ang kaniyang damdamin sa imahinasyon ng komunidad: na hindi natin pag-aari ang kahulugan, at mga kahulugang iluluwal pa ng ating sining sa oras na malikha ito at maisapubliko.
Reading and writing local: A book fair’s quest to empower the nation
Reading and writing local: A book fair’s quest to empower the nation
by Gizelle Amour Tagabi
For Ilonggo readers, writers, illustrators, and content creators, the Iloilo Mega Book Fair (IMBF) is a most awaited event and when the day comes, there is no other place to be.
As a pioneer book fair of this magnitude in the region and one of the most successful literary initiatives in the country, the IMBF is a celebration of local and regional literature that will be held on April 28-30, 2022 at the Festive Walk Mall and Iloilo Museum of Contemporary Art.
Written in their promotional material, the forces behind the mega book fair “believe that our success as a nation can only be claimed when every child gets to read and have access to an array of the books in the country written in our own beautiful languages.”
“It is a different experience if you are using your own language,” said Noel G. de Leon, IMBF’s project director. “Even though it is written in our language, the narratives are universal. Language is not a problem. If you learn the language, you will understand the culture of that narrative,” he added.
WHERE IT ALL BEGAN
It all started 30 years ago in a series of free writing workshops led by the late Dr. Leoncio P. Deriada, multi-awarded Ilonggo writer and “Father of Contemporary West Visayan Literature”. His influence on their view of regional literature and their consequent successes in the field of writing inspired de Leon and other writers such as Cristina Estorque and Early Sol Gadong to envision a “taboan” or an assembly for writers, illustrators, and content creators in Western Visayas to create, connect, and uphold local and regional literature in 2018.
The courage that our organizers now have was because of the energy that Dr. Deriada offered many years ago. He gave his life for us young writers to be able to explore the possibilities of regional literature.” It became one of the focuses of the fair. “Our target is to highlight regional literature — those written in Akeanon, Hiligaynon, and Kinaray-a,” said de Leon who teaches at UP Visayas.
Hence, the IMBF was born.
MORE THAN JUST A BOOK FAIR
The group saw the need to strengthen the reading community in Western Visayas, especially to see Iloilo City as a city that reads.
de Leon added that many children have not yet had the experience of buying books from a bookstore and reading a book written in their own language. Parents also wish to teach and read stories to their children but have no access to such materials. And according to de Leon, it is not their parents’ fault.
“Our goal is that all kids soon possess a book and that they would enjoy reading. However, that could only happen if all of us — all the communities within the community — will help each other promote the importance of reading and writing in our local languages,” said de Leon.
EMPOWERING LOCAL WRITERS, ARTISTS, AND CREATIVES
Before the IMBF, works written in English and Filipino eclipsed local and regional literature in the mainstream. Furthermore, local and regional literature had little promotion.
“Literature must not only be governed by one language because each language is unique,” said de Leon.
Because of these, the group saw the need to emphasize the cultural and economic value of these stories.
de Leon said that they have high respect for our local writers, especially those writing in the local languages, and that aside from showing them that there is value in their work, it is also important to highlight the venue provided for them. This, in turn, will elevate the reading public’s view of the literature written in our mother tongues.
Putting value in local and regional literature also fosters pride in our culture and identity. de Leon cited Virgilio G. Enriquez’s Sikolohiyang Pilipino (Filipino Psychology) and the Pantayong Pananaw as themes that echo throughout their work.
Further, de Leon said that we no longer have to hesitate in writing in Akeanon, Hiligaynon, and Kinaray-a. The book fair highlights our culture and our voice as regional writers. The narratives are really about us, for, and by us.
All of these fortify the rationale of the IMBF. “It is very important for each of us to protect this platform. We have to protect this kind of initiative because it empowers the locals within us. We empower each other,” de Leon said.
The impact of this young initiative is already palpable because there are a lot of young Ilonggos that are writing because of the platform that the IMBF provides. “There are more people who have the courage to write now. There are also more people who read,” said de Leon.
The IMBF has set the ball rolling in getting local and regional creators and their narratives recognized. It is a marketplace, a community, and a safe space for readers, writers, and creatives. Yet, it is more than just books. When every Filipino can read a book that speaks their stories and language, we give the locals a voice, empower our nation, and give ourselves the tools to shape our world.
IMBF 2022 ORDER OF EVENTS
Thank you to those who have registered to the Writers’ Night!
Thank you to those who have registered to the Writers’ Night!
We are all excited to having you join us for the event.
To guarantee the proper implementation of health protocols, we will be sending out confirmation letters that will provide details on what to expect during the event.
This will ensure that we will all have a fun, safe, and pleasant experience.
See you!
Event Registration Here https://forms.gle/dukytBPv7m7xb2Vb8
Iloilo Mega Book Fair 