Call for Entries for the Ateneo Art Awards 2018: Purita Kalaw-Ledesma Prizes in Art Criticism

Initial List of Exhibitions

The Ateneo Art Gallery (AAG) and the Kalaw-Ledesma Foundation, Inc. (KLFI) are pleased to announce the exhibitions to be reviewed by writers interested in submitting entries for the Purita Kalaw-Ledesma Prizes in Art Criticism. These exhibitions are:

The Ordinary Man: A One Man Exhibition by Josemaria Paolo Icasas
29 November 2017 –  4 February 2018
Pasilyo Vicente Manansala (2F Hallway)
Waterways: Caroline Ongpin Exhibition
24 January –  04 February 2018
Bulwagang Carlos V. Francisco (LT Lobby)
Walking Still: Rene Aquitania Exhibition
25 January –  04 March 2018
Bulwagang Fernando Amorsolo (Small Gallery)
Garapata for Pasinaya
3 February – 04 March 2018
Pasilyo Guillermo Tolentino (3F Hallway)
Saturday Group 50th Anniversary
03 March – 0 6 May 2018
Bulwagang Juan Luna (Main Gallery)
PAEA 50th Anniversary
20 March –  29 April 2018
Bulwagang Carlos V. Francisco (LT Lobby), Pasilyo Vicente Manansala (2F Hallway), and Pasilyo Guillermo Tolentino (3F Hallway)
Marion Contreras Solo Exhibition
22 March –  13 May 2018
Bulwagang Fernando Amorsolo (Small Gallery)
Peek-A-Book – with Intertextual 
24 March –  06 May 2018
Pasilyo Victorio Edades (4F Hallway)
Association of Pinoyprintmakers 50th Anniversary
24 May –  15 July 2018
Bulwagang Juan Luna (Main Gallery),
Pasilyo Vicente Manansala (2F Hallway),
and Pasilyo Guillermo Tolentino (3F Hallway)

Place of Region in the Contemporary: The initial project of the Philippine Contemporary Art Network (PCAN)
08 December 2017 –  27 January 2018
All Galleries
Living Architecture at the Vargas Museum: With special projects by Junyee and Indy Paredes
03 February –  31 March 2018
1F  Galleries
Beyond Myself: Filipino Migrants’ Investments in Philippine Futures: 
15 February –  24 March 2018
3F Galleries
Nona Garcia Solo Exhibition
07 April –  05 May 2018
1F Galleries
2018 Vargas Museum Art History Series Exhibition
07 April –  05 May 2018
3F Galleries
Elmer Borlongan Solo Exhibition
12 May –  09 June
1F Galleries

Curated by Federico de Vera
7 November 2017 –  28 January 2018
Urban Labyrinth: Rodel Tapaya New Works
19 February –  1 April 2018
Alfonso Ossorio Exhibition
26 February – 17 Jun e 2018

7 December 2017 –  04 March 2018
Pacita Abad Exhibition
12 April –  01 July 2018


Elmer Borlongan: An Extraordinary Eye for the Ordinary

22 January – 28 March 2018

Participants must write in the style of an art critique with no more than 1000 words and submit a Writer’s Profile. Please review the Initial List of Exhibitions and the Code of Conduct carefully.

The Purita Kalaw-Ledesma Prizes in Art Criticism honors the memory of Purita Kalaw-Ledesma, art patron and founder of the Art Association of the Philippines (AAP). Ledesma was instrumental in the development of Philippine art of the post war period through the establishment of the AAP and her patronage of both established and emerging artists.

Call for Submissions: Kabulig Writers Prize

The KABULIG-Bikol Inc.  is now accepting entries for the inaugural Girok Poetry Writing Contest 2018. KABULIG Bikol, Inc. is a non-profit organization, non-government organization composed of writers in Naga and Camarines Sur dedicated to supporting and promoting Bikol arts and culture. Kabulig, meaning one who shares or helps in an endeavor, took off in 1999 as a loose and informal association, and was re-organized in May 2012. It has been the most sustained Bikol literary organization in the last decade and has produced and supported many of the present crop of writers actively writing in the Bikol languages.


  1. The Contest is open to all Bikolnon writers, within and outside the region, except for the members of  Kabulig-Bikol Inc.;
  2. Entrants must submit an accomplished application form, available at the Girok Poetry Writing Contest FB page together with the official contest entry;
  3. All entries must be submitted via email at on or before February 8, 2018;
  4. Entries must be original, in a Bikol language (Bikol-Rinconada, Albay, Partido, Sentral, Catandungan, Minasbate etc.), unpublished and must adhere to the Girok-Erotika theme;
  5. Entrants are free to use different poetry forms such as prose poem (proem) , except metrical romance, metrical tale, and epic poem;
  6. Entries must be typed and formatted on 8 ½ x 11” or letter-sized paper.  Poems may be single or double spaced
  7. Entrant’s name, address, email address and phone number should not appear on the entry file;
  8. Entries will be evaluated and judged by selected members of the Kabulig-Bikol Inc.;
  9. Awarding of winners will be held during the Girok 4 Poetry reading on February 25, 2018 at Naga City.
  10. Winners will receive:

1st Prize Winner 3,000 thousand pesos + Certificate +Medal and Books
2nd Prize Winner 2,000 thousand pesos + Certificate +Medal and Books
3rd Prize Winner 1,000 thousand pesos + Certificate + Medal and Books

Five Consolation prizes 500 hundred pesos + Certificate

For queries please email us at or contact Elbert O. Baeta/ 09096571786

1st Virginia Benitez Licuanan Award for History Writing



The Ateneo Library of Women’s Writings (ALiWW) announces the launch of the VIRGINIA BENITEZ LICUANAN AWARD FOR HISTORY WRITING in celebration of the 100th birth anniversary of Virginia Benitez Licuanan—writer, editor, and educator.

Established through the generosity of Dr. Patricia B. Licuanan and Mr. Francisco H. Licuanan III to honor their mother, the award seeks to widen the space for histories written by women by encouraging the production of historical writings by local Filipina authors:

  • who exhibit good scholarship,
  • whose writings are accessible to a general audience, and
  • who present original perspectives on relevant historical topics.

The theme for this year is “WOMEN IN PHILIPPINE HISTORY.” Topics may include but are not limited to:

  • Notable women in Philippine History (whether as an individual, group, or community
  • Women in the context of cultural history, political history, social history, regional or local history, personal or family history

The contest period is from 30 September 2017 to 9 February 2018.

Prizes (subject to withholding tax): First Prize (PhP20,000.00), Second Prize (PhP15,000.00), Third Prize (PhP10,000.00).

For the Contest Rules and Official Entry Form, please go to: (link is external)

For other inquiries, you may contact ALiWW at Tel. no. 4266001 Ext. 5561 or Email (link sends e-mail)

Call for Submissions: Cavite Young Writers Workshop (CYWW)

The First Cavite Young Writers Workshop aims to help beginning writers to hone their craft through lectures and peer-critiquing sessions. The workshop will last for four (4) weekends of April and accepted fellows are expected to attend all of the sessions, otherwise they will forfeit their slot for the workshop and CYWA’s next big project: Lóngos, a zine project for the fellows which was launched last BLTX 2017. The workshop is free and as much as the CYWW screening committee would want to have more participants to attend, CYWW will only accept fifteen (15) fellows at most. They are also expected to be willing to travel to Bacoor, Cavite at their own expense.

CYWW will cater to two categories— short story and poetry— and aspiring fellows are only allowed to submit to only one (1) category, in either English or Filipino. Applicants are free to choose whichever topic they would want to discuss in their pieces.

An entry for the short story category must at least have 2,000 but no more than 5,000 words. It should be typewritten in .doc or .docx format, using either Times New Roman or Book Antiqua as the typeface with 12pts as size, double-spaced with one (1) inch margin on all sides, and it should be on a letter size paper (8.5” x 11”) with pagination that bears the title of the piece (e.g. TITLE page 1 of x).

An entry for the poetry category must at least have three (3) but no more than (5) poems. It should be typewritten in .doc or .docx format, using either Times New Roman or Book Antiqua as the typeface with 12pts as size, single-spaced with one (1) inch margin on all sides, and it should be on a letter size paper (8.5” x 11”) with pagination that bears the title of the cycle or collection (e.g. TITLE page 1 of x).

The name or any identifying marks of the author, which may include but not limited to a pseudonym, should not be written on the entry. Entries should be attached and sent to with a subject line bearing the category and surname of the applicant (e.g. SHORT STORY Villasin or POETRY Valdez). The email should also include (which may be written on the body of the email or attached as a separate word file) the applicant’s whole name, address, contact number, a 2×2 photo of the applicant (attached in the email), and a short bionote on the applicant’s background in writing. The deadline of submission is on 28 February 2018, no later than 11:59pm.

Failure to comply with mechanics may disqualify an applicant and their entry.

All entries should be original and not a translation of any existing piece, published or otherwise. Should the CYWW screening committee finds an applicant guilty of plagiarism, the entry will be automatically disqualified and the author banned from participating in other CYWA projects.

Standby for further announcements. For inquiries, PM us through this page or with the aforementioned email address.

Call for Submissions: Kritika Kultura / AdMU Press First Book Prize (second call)

Kritika Kultura (KK), in partnership with the Ateneo de Manila University (AdMU) Press, is now seeking submissions for its first book prize.

Gina Apostol, award-winning novelist, will serve as the competition’s inaugural judge. Her achievements include the Juan Laya Prize for the Novel (Philippine National Book Award) for both Bibliolepsy and The Revolution According to Raymundo Mata, which also won the biennial Gintong Aklat Award from the National Book Development Board. Her third novel, Gun Dealers’ Daughter, won the 2013 PEN/Open Book Award and was shortlisted for the William Saroyan International Prize. Her fourth novel, The Unintended, will be out in the fall of 2018.

Apostol’s growing oeuvre is remarkably influenced by her scholarly interests. Lately, she has been researching the Filipino-American war and has found herself unable to write about it in a single novel. The Unintended is an intellectual concept-novel, though also a book of grief, using research on the Balangiga massacre and the Filipino-American war to reexamine contemporary times. During the Duterte era, a white moviemaker and a Waray translator write dueling scripts about Balangiga and test the reader on these questions—who should be telling what story, and what is the telling for? The Unintended is only 220 pages long. Meanwhile, William McKinley’s World, her work-in-progress, is not yet a third way done at 300 pages. It is a domestic family saga weaving together filial memory of growing up with a pro-Marcos family under martial law with the diaries of two brothers, one a collaborator and spy for Americans, the other a revolutionary, during our forgotten anti-colonial war against the Americans—one brother has to kill the other, but what is that dying for?

Apostol’s novels are marked for their articulation of history not only in the sense of what has already taken place, but also as unforeseen possibility. Her works ground the reader in familiar circumstances while simultaneously rethinking personal agency alongside historical urgency.

If she has one way of describing work that she enjoys, it would be work that has spine: the structure holds the parts together, whether it is a work of detection, or desire, or despair, or simply of the comic quotidian, or of daily life.

This book prize welcomes a variety of works: from a simple novel with run-of-the-mill characters who suddenly find themselves in a Jane Austen romance, to a young-adult anti-colonial ghost story. Likewise, submissions which leave nothing wanting by way of novelistic form, and which challenge the boundaries of both scholarship and fiction, are also welcome.

All told: although the competition is open to a range of thematic considerations and formal approaches, the winning work will be distinguished by a sense of completion and integrity, both in form and content.

Prize Guidelines

  1. Who May Submit

The first book prize is open to all Filipino citizens regardless of place of residence who have not published a book of fiction or have not entered a formal contract for publication of a book of fiction by the deadline for submission of manuscripts to this competition.

The following may also be eligible to join the competition:

  1. a.           Filipino writers who have published books in other genres or other disciplines;
  2. b.           Filipino writers who have published books of fiction with no ISBN.

These writers may submit their independently published work to the competition.

Staff and employees of KK and AdMU Press, including their family members and relatives up to the fourth degree of consanguinity or affinity, and incumbent students of the judge are disqualified from joining the competition.

  1. What May Be Submitted

Interested writers may submit a book-length (at least 49 pages) manuscript of fiction: a novel, a collection of short stories or flash fiction, or a cohesive gathering of works of various forms that may fall under the general classification of fiction. The manuscript must be written in English; translations into English from Filipino and other local languages are accepted, but the entirety of the original must be unpublished. Each writer may submit only one manuscript to the competition. The manuscript as a whole must be unpublished, but individual pieces within the manuscript may have been previously published. If applicable, include an acknowledgments page with publication credits in the manuscript. Simultaneous submissions to other publishers and contests are not permitted, although inquiries about the status of their submissions may be emailed to the organizers six months after the deadline has passed.

  1. How to Format the Manuscript and Where to Submit

Each manuscript must be submitted both in hard copy and electronically.

The hard copy (A4 paper size) must begin with a cover page that shows the manuscript’s title and the author’s name, address, telephone number, email address, and the word count of the manuscript. A second cover page must also be included, this time containing only the manuscript’s title and, if applicable, a table of contents. Please include a brief biography and, if applicable, a list of publication credits at the end of the manuscript, on a separate page. The manuscript must use a standard typeface in at least 11-point type; the manuscript may be 1.5-spaced or double-spaced. The hard copy of the manuscript must not be stapled or bound. Instead, the loose sheets must be placed inside an envelope.

Send the hard copy of the manuscript to:

Kritika Kultura
Department of English
School of Humanities
1/f De La Costa Hall
Ateneo de Manila University
Loyola Heights, Quezon City 1108

Email the soft copy of the manuscript to (cc: For both the subject heading of the email and the filename of the submission, the author’s last name and the words “Book Prize” must be mentioned (for instance, Cruz_Book Prize). The following must be placed as in-line text in the email: the author’s name, address, telephone number, email address, and a brief biography; the word count of the manuscript; and a list of publication credits. The soft copy needs only one cover page, which includes the manuscript’s title and, if applicable, a table of contents. The manuscript must be submitted as an attachment, in .docx or .pdf format.

  1. When to Submit

The hard copy of the submissions must be postmarked no later than March 31, 2018 and the soft copy must be submitted no later than 11:59 pm (Philippine Standard Time) on March 31, 2018.

  1. Announcement of Winner

The result will be announced on September 2018. The winning manuscript will be published by Ateneo de Manila University Press, and the author will receive a modest cash award.

Please address inquiries to (cc:

Kritika Kultura is acknowledged by a host of Asian and Asian American Studies libraries and scholarly networks, and indexed in the MLA International Bibliography, Thomson Reuters (ISI), Scopus, EBSCO, and the Directory of Open Access Journals.

Call for Papers: Conference and Special Issue on Cultural Practices and Policies in the Digital Age

Kritika Kultura and European Centre for International Political Economy (ECIPE) are organizing an international conference on cultural practices and cultural policies in the globalized and digital age. This event will be held at the Ateneo de Manila University (Philippines) on Nov. 22 and 23, 2018. The organizers are pleased to announce a call for papers for this event. Selected papers will be published in the Feb. 2019 issue of Kritika Kultura (ISSN: 1656-152X), an international peer-reviewed journal indexed in Thomson Reuters, EBSCO, Scopus, among others.

The title and abstract (up to 300 words) together with a short bio should be submitted to by Feb. 11, 2018 (cc: / subject heading: Cultural Practices and Policies).

Description of the Conference and the Special Issue

The conference seeks to investigate the changing nature of culture and its industries brought on by globalization and digitization at national, regional, and international contexts. Specifically, it looks at the way governments, businesses, and industries respond to or interact within, the changing nature of the culture and media markets where information technology and social media alter the way content is being produced, delivered, and consumed. From a broader perspective, this conference is an opportunity to cultivate a network of researchers working on issues related to today’s cultural industries.

There will be two main themes:

1/ Globalization and culture

Over the past twenty years, cultural industries from different parts of the world have expanded significantly across the globe. While this has brought about opportunities for some, others face difficulties and are reluctant to change. This theme aims to analyze the ways in which cultural industries and national governments have responded to these current challenges, and to new cultural production, promotion, and consumption.

2/ Digitization and culture

Digitization in the cultural industries has fundamentally changed the way in which products are distributed and consumed. Those who have recognized these changes early on and adapted accordingly have enjoyed great success. This session will seek to assess various business, government, and/ or third party responses to the dramatic changes brought on by digitization.

Possible topics include, but are not limited to:

  • Impact assessment of globalization and digitization on culture and its industries
  • The impact of the Internet and smart devices for culture and its industries
  • Transnational collaborations in the digitalization and promotion of cultural commodities
  • Changes in demand and supply in the cultural industries
  • Consumers’ reception and its fluctuation brought on by globalization and/or digitization of culture
  • The rise of social media as an important medium for transferring and consuming culture
  • Changes in government policies for promoting culture and its industries
  • New generation/alternative models (including research methodology and theory development) in globalization and digitization of culture
  • Cultural-related business practices in the era of globalization and digitization
  • Comparative studies of cultural digitalization between countries


Ainslie, M.J., Lipura, S.D., and Lim, J. 2017. Understanding the Potential for a Hallyu ‘Backlash’ in Southeast Asia: A Case Study of Consumers in Thailand, Malaysia and Philippines, Kritika Kultura 28: 63-91.

Baldwin, P. 2014. The Copyright War: Three Centuries of Trans-Atlantic Battle. Princeton University Press.

Chua, B.H. 2010. Engendering an East Asia Pop Culture Research Community. Inter-Asia Cultural Studies 11(2): 202-206.

Daliot-Bul, M. and Otmazgin, N. 2017, The Anime Boom in the US: Lessons for Global Creative Industries. Harvard University East Asia Press.

Hsiung, J.C. 2001. Twenty-first Century World Order and the Asia Pacific: Value Change, Exigencies, and Power Realignment. Palgrave-Macmillan.

Huang, S. 2011. Nation-branding and Transnational Consumption: Japan-mania and the Korean Wave in Taiwan. Media, Culture & Society 33(1): 3-18.

Liebowitz, S.J. 2008. Research Note: Testing File-sharing’s Impact On Music Album Sales in Cities. Management Science 54(4): 852–859.

Messerlin, P.A. and Parc, J. 2017. The Real Impact of Subsidies on the Film Industry (1970s-Present): Lessons from France and Korea. Pacific Affairs 90(1): 51-75.

Pager, S. 2011. Beyond Culture vs. Commerce: Decentralizing Cultural Protection to Promote Diversity through Trade. Northwestern Journal of International law & Business 31: 63-135.

Parc, J. 2017. The Effects of Protection in Cultural Industries: The Case of the Korean Film Policies. The International Journal of Cultural Policy 23(5): 618-633.

Parc, J., Messerlin, P.A., and Moon, H.-C. 2016. “The Secret to the Success of K-pop: The Benefits of Well-Balanced Copyrights”. In Bryan Christiansen and Fatmanur Kasarci, Corporate Espionage, Geopolitics, and Diplomacy Issues in International Business. IGI Global. pp. 130-148.

Power, D. and Scott, A.J. 2004. Cultural Industries and the Production of Culture. Routledge.

Description of Journal

Kritika Kultura (ISSN: 1656-152X) is a semi-annual peer-reviewed international electronic journal on literary, language, and cultural studies of the Ateneo de Manila University (Philippines). It is acknowledged by a host of Asian and Asian American Studies libraries and scholars network, and is also indexed in Thomson Reuters (ISI), MLA, EBSCO, and Scopus.

Peer Review Policy

All articles in “Cultural Practices and Policies” issue will undergo double blind peer review: submissions undergo evaluation by the guest editors, followed by at least two anonymous referees.

Editorial Procedures

Submissions are reviewed anonymously by at least two reviewers. The review process usually takes 3-4 weeks. Papers accepted for publication will undergo an additional stage of copyediting and proofreading. Once the final version of the paper has been accepted, authors are requested not to make any further changes to the text. The Editor-in-Chief reserves the right to request the author to make any necessary changes to papers, or reject the paper submitted.

Information for Authors 
1. The title and abstract (300 words) (including name[s] and affiliation[s]) should be submitted to by Feb. 11, 2018 (cc: / subject heading: Cultural Practices and Policies).

  1. After review, an invitation to write the manuscript will be sent to those who are accepted.
  2. The special issue will publish around twenty articles, contingent on result of peer review. Twelve authors will be chosen and invited to present at a conference (Nov. 22 and 23, 2018) in Ateneo de Manila University.
  3. The manuscript should be original and should not have been published previously. Please do not submit material that is currently being considered by another journal.
  4. The manuscript should be in MS Word format, submitted as an email attachment to (cc: / subject heading: Cultural Practices and Policies).
  5. Manuscripts must be 6,000 to 8,000 words; longer manuscripts are contingent on approval by the guest editors. Word count includes the abstract, body text, tables, footnotes, appendixes, and references. The title should be on page 1 and not exceed 15 words, followed by an abstract of 100-200 words, 3-5 keywords or key phrases are required.
  6. The title of the paper should be on the cover sheet as well as at the top of the first page of the main text. Author names and affiliations should be on the cover sheet only.
  7. For those who are invited to the conference, their travel expenses (round trip tickets in economy class and three-day hotel accommodation in Manila) will be covered by the organizers. In the case of co-authored manuscripts, only one person can be covered.
  8. No registration fee is needed.

Guest Editors

Important Dates

  • Title and abstract submission: Feb. 11, 2018
  • Invitation to write manuscript: Feb. 25, 2018
  • Manuscript submission: May 27, 2018
  • First review & decision: June 17, 2018
  • Manuscript submission after revision: July 15, 2018
  • Second review & decision, invitation to the conference: July 29, 2018
  • Conference in Manila: Nov. 22 and 23, 2018
  • Publication of special issue: Feb. 2019


For all inquiries, please contact us via (cc: / subject heading: Cultural Practices and Policies).

Call for Emerging Writers from Visayas and Mindanao: BATHALAD-Sugbo’s 2nd Kagis Creative Writers’ Workshop

The Bathalan-ong Halad sa Dagang-Sugbo (BATHALAD-Sugbo), in partnership with the Libulan Queer Collective, a writers bloc of queer poets, essayists, fictionists, and playwrights from the southern Philippines, is now accepting applications for the 2nd Kagis Creative Writers’ Workshop to be held from 21 to 22 April 2018 at Handuraw Pizza, White Gold Annex Building, White Gold Club, North Reclamation Area in Cebu City.

This year, twelve (12) fellowships are available to emerging writers from Visayas and Mindanao. Non-Cebu-based applicants, if selected, shall shoulder the expenses entailed by food, accommodation, and transportation during the duration of the event. The fellows will be provided with food and workshop materials. The workshop’s screening committee shall also choose ten (10) observers from the shortlisted applicants to witness and engage in the workshop.

To be considered, submissions in Sugboanong Binisaya and/or English must consist of any of the following:

  • Poetry: a suite of five (5) poems;
  • Fiction: one (1) short story or three (3) works of flash fiction;
  • Creative nonfiction: one (1) creative nonfiction or three (3) works of flash nonfiction;
  • Drama: one (1) one-act play

All manuscripts should be previously unpublished and have not been included in creative writing thesis. Alumni of any national writers’ workshop are not eligible to apply. The general theme for works to be submitted this year is on the ‘ecocritical’—works that discuss climate change, global warming, and natural/man-made disasters in the locale; affinity to rural/urban homelands; and individualized/collective displacement narratives in the aftermaths—but is not confined only to these themes.

Applicants may send in (1) manuscripts in MS Word format (font Arial or Times New Roman, size 12, double-spaced on 8.5 x 11 bond paper), (2) comprehensive curriculum vitae (which should indicate applicant’s active mobile number, permanent and home address, educational background, and birth date), (3) one-page narrative of forthcoming and/or ongoing literary projects in school or community, and (4) one-page essay answering the question “Why do you write?”.

Send submissions with subject “KAGIS_LastName_MI_FirstName_Genre” (example: KAGIS_Dela Cruz_H_Juan_Creative nonfiction) to on or before 16 March 2018. Incomplete applications will not be considered.

Likhaan 12 Now Accepting Submissions

The UP Institute of Creative Writing (ICW) is now accepting submissions for the twelfth issue of Likhaan: The Journal of Contemporary Philippine Literature.

The Philippines’ leading literary peer-reviewed journal, the Likhaan Journal is published annually with funding from the University of the Philippines. It features the best of new and unpublished Philippine writing in English and Filipino. Submissions to the journal undergo a strict pre-screening and double-blind refereeing process by both the editors and a panel of referees composed of eminent writers and critics from within and outside UP.

Award-winning writer Eugene Y. Evasco will be the issue editor.

The guidelines are as follows:

  1. For its twelfth issue, Likhaan: The Journal of Contemporary Philippine Literature will accept submissions in the following genres, in both English and Filipino:
  • Short stories ranging from about 12 to 30 pages double-spaced, in 12 points Times Roman, New York, Palatino, Book Antique, Arial or similar fonts. A suite of short prose pieces will be considered.
  • A suite of four to seven poems, out of which the editors might choose three to five. Long poems will be considered in lieu of a suite.
  • Literary and personal essays, including memoirs, profiles, etc., subject to the same length limitations as short stories (see above).
  • Critical/scholarly essays, subject to the same length limitations as short stories (see above).
  • Excerpts from graphic novels, or full, short graphic stories, for reproduction in black and white on no more than 10 printed pages, 6” x 9.” Excerpts should be accompanied by a synopsis of the full narrative.
  1. All submissions must be original and previously unpublished.
  2. All submissions must be accompanied by a cover letter (including the author’s contact information) and a biographical sketch of no more than one or two short paragraphs.
  3. Submissions may be e-mailed to, or posted to The Editors, Likhaan Journal 12, Room 3200, Pavillion 3, Palma Hall, UP Diliman.
  4. For submissions sent via e-mail, please use the following subject line and filename format: [Language], [Genre], [Title], [Author’s Last Name]. For example: English, Fiction, “The Life,” Aquino. The attachment should either be a .DOC, .DOCX or .RTF file.
  5. All submissions should be received (whether by e-mail or post) no later than April 30, 2018. 
  6. All submissions will undergo a strict pre-screening and blind refereeing process by the editors, and a panel of referees composed of eminent writers and critics from within and outside the University of the Philippines.
  7. Writers whose work will be accepted for publication will receive a substantial cash payment and a copy of the published journal.
  8. The editors reserve the right to edit any and all materials accepted for publication.
  9. The editors may also solicit or commission special, non-refereed articles for publication outside of the aforementioned genres and categories to enhance the editorial content and balance of the journal.

Previous issues of the Likhaan Journal are available for download as PDF file at and Please direct any and all inquiries to the managing editor, Isa Lorenzo at

Kritika Kultura Lecture Series Presents Paul Michael Leonardo Atienza

Kritika Kultura, the international refereed journal of language, literary, and cultural studies of the Department of English, Ateneo de Manila University will host a workshop by Paul Michael Leonardo Atienza titled “An Ethnography of Digital Lives: Developing Research Questions for Networked Worlds.” The workshop is on Jan. 15, 2018, from 1:00 to 3:00 p.m., at NGF Room,1/f de la Costa Hall, Ateneo de Manila University. The workshop is open to the public.

About the workshop

Digital media are personal, portable, participatory, and pervasive. Thus, everyday lives will be even more mediated. Questions about media immersion, issues of privacy, de/regulation, and changes in the way people interact with one another are inevitable. With human lives increasingly intertwined among machine technologies, studies about networked worlds and their global interconnections online will require further attention. Based on visiting scholar Paul Michael Leonardo Atienza’s research trajectories and fieldwork experiences, this workshop asks participants to consider how online lives would generate different questions and new avenues of inquiry pertaining to their current research projects. How may scholars use digital lives as data? What are some methodological and ethical concerns when conducting research about online worlds? Participants should prepare to discuss their projects in addition to difficulties and apprehensions moving forward. This workshop is open to all students regardless of project theme.

About the lecturer

Paul Michael Leonardo Atienza is a doctoral candidate of anthropology with a graduate certificate in gender and women’s studies at the University of Illinois, Urbana-Champaign (UIUC). He is also a research affiliate with the Seeing Systems INTERSECT group, an interdisciplinary collaboration among UIUC scholars interested in the role of vision in technological systems. Drawing on transdisciplinary perspectives, methods, and practices from feminist approaches and queer of color cultural critique, Atienza’s project considers the online and offline experiences of gay Filipinos looking for intimate connections in and between Manila and Los Angeles on mobile phone digital media platforms.

About Kritika Kultura

Kritika Kultura is acknowledged by a host of Asian and Asian American Studies libraries and scholarly networks, and indexed in the MLA International Bibliography, Thomson Reuters (ISI), Scopus, EBSCO, and the Directory of Open Access Journals. For inquiries about submission guidelines and future events, visit or email

INQUIRER.NET: Likhaan 11, or why we must start this year reading Philippine literature

by Jen Balboa

In this book, there’s an essay about a young girl recalling how she stood with one foot on the doorknob and another on a chair back, dangling from and peeking above the transom of a door, to see what her father and a 19-year-old boy could be up to in the middle of the afternoon, locked in the bedroom.

There’s a short story about a millennial who got recruited by an agency of internet trolls. The young man takes on the job and creates numerous troll personas, all to protect the images of powerful men whom the agency serves. He earns big bucks, his life changes, and he has no idea of the huge price he has to pay for this choice.

It has poems too, such as one where a child sees a man who is about to die in the middle of a forest. There’s a lone play where a ghost, through a medium, describes the padded tax being collected by a corrupt BIR official as “abot langit, singlalim ng impyerno, singbigat ng dagat, singlawak ng disyerto.” And there’s also an exquisite essay about kalabasa.

These and 15 other works make up Likhaan 11, the latest edition of Likhaan Journal which gathers the best of Philippine literary works every year. The Likhaan Journal is put out by the University of the Philippines Institute of Creative Writing (UP-ICW). Likhaan 11, launched last December during Writers Night, marks a new era in its goal of upholding Philippine literature, being the first edition to usher in a new decade for its mission.

A new decade calls for letting Filipinos know why they should read it. The reasons are as hefty as the twenty works packed in this new volume.

Because it’s the best, and we paid for it

“When people want to see what’s current, when people want to see what Filipino writers are writing, they look at Likhaan Journal,” says Isa Lorenzo, managing editor of Likhaan 11. She describes Likhaan as a repository of Philippine literature in English and Filipino, and something that “tries to gather the best works, every year.” But how is it ensured that only the best works get in? How are the works gathered and chosen? Who makes the choices? Who decides what’s “the best”?

“Likhaan is the only refereed literary journal in the Philippines. It goes through a blind review process. Four reviewers read all the entries without knowing the writer. Entries are chosen purely based on the merit of the work,” Lorenzo explains.

The four reviewers, whose identities are kept confidential until an anthology is released, are appointed by an editor, who in turn is appointed by fellows of the ICW.

These reviewers come from various universities, particularly ones which are known to be centers of excellence when it comes to literary studies and creative writing. They also happen to be involved in various genres of writing, each one having an expertise, and may even be from the regions. It can be said, therefore, that the best are tasked to choose the best, from the heaps of submissions every year.

Likhaan 11 managing editor Isa Lorenzo addresses guests during the anthology’s launch. Image: Balboa

While the reviewers get to choose which works they want to shortlist, giving ample justification for each choice by writing explanations on required review sheets, they do not always have the final say. It’s a democracy, and the editor, along with associate editors and managing editor, further review the shortlist, including works that did not make the cut.

The editors agree on a final list, then inform the writers of the works which made the final cut. The writers and editors coordinate, printing runs, and the journal is released. This has been the Likhaan grind for a decade now.

While some independent publications have emerged with the same aim of supporting Philippine literary writing, Likhaan’s means and mechanisms remain the strongest because it is government-funded. The funding comes in the form of a modest grant issued through the U.P. president.

Since it is a grant, it does not require being paid back. This explains why the journal is not for sale – profit is not the goal. Only a limited number of journals are printed; these go to the writers and the U.P. library as complimentary copies.

Likhaan has also earned a reputation for fairly compensating its contributors – a writer receives P10,000 for a work. For the Filipino literary writer who constantly works against all odds, even under dire circumstances, it is an amount that is in fact not too big, as Lorenzo points out, but is nevertheless a valuable token of appreciation and support.

Likhaan 11 contributors and staff. Image: Balboa

So, where in all this does the reader figure? If the copies are limited, how then can any ordinary Filipino reader have access to the journals? Is traveling all the way to a library in U.P. for this best-of readings, paid for with taxpayers’ money, really necessary?

Of course not, because the journals, all 11 of them, are already available online, for free. The works have even been uploaded in PDF format, in the websites of U.P. and, to give readers the freedom to download the works, so they may get to read at their leisure, even when they are offline. For the Filipino reader who constantly wrestles with internet connectivity, the digital downloadable copies are simple welcome developments.

Because these writers are our own, and they write about our lives

Since the journals are known to gather the county’s best writings, these have become tools of instruction, bearing useful samples from which writers can learn. College students mostly get acquainted with Likhaan through their literature or creative writing classes, while an even smaller segment luckily become immersed in it as early as high school, whenever their teachers endorse it as a reference.

Such was the case with the poet Corin Arenas, author of the poetry collection “Life on Loop”. She was not even originally a literature major, but eventually fell for the word and pursued creative writing. A good part of nurturing her love for the art of writing can be credited to her early readings of the journals.

“Likhaan introduced me to brilliant Filipino poets and writers, like Ricky de Ungria, Gregorio Brilliantes and Gilda Cordero-Fernando,” recalls Arenas. “[Creative writing] guided me in studying good literature closely and how to reveal something essential about the human condition. I think this simple learning still influences how I read and write today.”

It is a learning that she wants perpetuated, hence her use of Likhaan as a reference too when it was her turn to teach.

She says, “I taught many short stories and poems from the first volume[s] of Likhaan. I wanted to give my students the same learning experience I got when I encountered pieces from the book, when I was in college and grad school.”

She hopes that young writers would be inspired as she was when she first encountered De Ungria’s “Shrimp Moves”, Cordero-Fernando’s “A Wilderness of Sweets” and Eric Gamalinda’s “Zero Gravity” from the anthology.

Allan Popa wrote a series of poems for Likhaan 11. Image: Balboa

While Likhaan’s relevance to Philippine literature has been made secure by its efforts over the past ten years, it still remains largely known only among Filipino writers and students. But that’s a reality that may hopefully soon change, as digital platforms now afford everyone free access to Likhaan works.

Even the current upsurge of small presses, live readings and independent publications outside of the academe, promoted through social media, bring an awareness about reading and writing among the tech-savvy young like never before. All these ultimately ripple back to an interest and a hunger for fine reading, something that Likhaan founded its name on.

As multi-awarded poet and literature professor Allan Popa states, “Nakikita ko ang Likhaan na isa lamang sa maraming venue ngayon sa paglalathala ng mga akdang pampanitikan.” While Popa’s poetry is among those which earned a place in Likhaan 11, he continues to post new verses in Facebook, creates handmade chapbooks, releases PDF files of some collections and contributes to small press.

Although he does not see Likhaan’s prestige as something that eclipses independent publications, he expresses joy about Likhaan’s reach and accessibility and acknowledges the role it played in the early days of his career as a poet.

Hindi ko maikakailang naging bahagi ang Likhaan sa pormasyon ko bilang manunulat kung kaya ang patuloy kong paglathala rito ay paraan ng pagpapanatili pa rin ng ugnayan ko sa U.P. kahit na sa ibang unibersidad na ako nagtuturo,” Popa recalls.

Masaya ako na makasabay sa isyung ito ng Likhaan ang mas nakababatang mga manunulat dahil patunay ito na patuloy na nagbibigay-puwang ang antolohiyang ito sa mga bagong tinig sa panitikan,” he adds.

Kat del Rosario wrote an essay for Likhaan 11. Image: Balboa

These new voices turn out to be some of the most passionate, and their perspectives profound, giving us verses and narratives that can help us face difficult times. These are writers who are attuned because they live the same lives that we live, working hard to sustain themselves and the people in their lives. Most of them have faced rejections too, before their works found their way into Likhaan, to find readers in return.

For instance, that kalabasa essay’s author, Kat Del Rosario, is a freelance writer who professes to have “always written, ever since I was little. It was one of the ways that I tried to make sense of the world.”

She admits “there’s always a bit of trepidation” whenever she has to surrender her work for evaluation, but she has embraced that ever-present uncertainty and looks forward to writing more and submitting to Likhaan again. She has bold projects in mind, to “write around the themes of womanhood and family,” then “dip into the waters of young adult, historical and magic realist fiction.”

As for the fee she received, it can be said the journal has helped her pay some bills.

Nicko de Guzman, accompanied during the launch by his classmates and friends, wrote a short story for Likhaan 11. Image: Balboa

Then there are those works the wisdom of which defy the age of their makers – they can even be as young as our sons and daughters, being still students who are finding their way, yet already bearing compassion for their countrymen.

Writer of the short story “Troll”, Nicko de Guzman, is among these very young writers. He has been an iskolar ng bayan since his days at the Philippine High School for the Arts where he first read Likhaan, all the way to his being a creative writing student now in U.P.

His thoughts are as direct as his simple, cautionary story, “Importante ang pagbabasa, hindi lang ng Likhaan para sa mga interesado sa pagsusulat at panitikan. Importanteng pag-aralan ang daang tatahakin/tinatahak.

He admits feeling frustrated because he sees that there are a lot of things that should be written about, “lalo na sa politikal na sitwasyon natin ngayon.” So he declares his commitment, “Para sa akin, nandiyan naman lagi ang hamon sa lahat ng manunulat na magsulat ng socially-relevant pieces.”

And as this student reaches out to us through Likhaan 11, through offering his work along with the rest of the contributors, there can be much for us to gain as a people – to make our hardships a little bit more bearable, to understand ourselves better, how come we insist on our stubborn ways and why we desire the things we desire – if we could only care to read.