Fellows to the 3rd ALBWW Announced

LIKHAAN: The Up Institute of Creative Writing (UP ICW) announces its 12 fellows for the 3rd Amelia Lapeña-Bonifacio Writers Workshop (ALBWW), which will be held on July 11-15, 2018 at the University Hotel, UP Diliman. With Charlson Ong at the helm as Workshop Director, the UP ICW has selected five works in Filipino and seven works in English.

The 2018 ALBWW fellows for Filipino are Rommel Bonus, Danilo Ellamil Jr., Boon Kristoffer Lauw, Erik Pingol, and Eric John Villena. The fellows for English are Ernest Jean Angeles, Angeli Dumatol, Jane Kharen Mariano, Katrina Martin, Lukas Miguel Santiago, Pichai Theamtusana, and Angela Velasco.

This year’s ALBWW focuses on Novel and Nobela projects, with prominent writers such as Dr. Genevieve Asenjo, Glenn Diaz, Ramon Guillermo, Jun Cruz Reyes, and Krip Yuson serving as panelists and teaching staff, along with Dr. Cristina Pantoja-Hidalgo coming in as a guest panelist.

Aside from craft lectures which will be given by some of the panelists, there will also be lectures coming from publishers who will share some of their insights, on what they are looking for in a manuscript. All of these lectures will be streamed live on UP ICW’s Facebook page.

The ALBWW complements the annual UP National Writers Workshop, which has grown to accommodate writers in mid-career.

Repost: Southern Authors No. 15 — Ton Daposala sa Erotikong Pamalak

From: https://payaghabagatan.ph/southern-authors-no-15-ton-daposala-sa-erotikong-pamalak/

Featured Authors by Alton Melvar Dapanas | 

Si Ton Daposala bag-ohay lang nadawat nga fellow for poetry sa 57th UP National Writers’ Workshop (UP Likhaan Institute of Creative Writing). Usa sab siya ka writing fellow sa balak sa 27th Cornelio Faigao Annual Writers Workshop (University of San Carlos-Cebuano Studies Center) ug sa 18th Iligan National Writers Workshop. Anaa siya sa antolohiya sa Brown Child: The Best Faigao Fiction and Poetry, Sakayang Papel: Anthology of Bisaya Poetry, The Best of Dagmay, ug The Nomads Quarterly. Sa tuig 2013, na-shortlisted siya sa Labing Masaarong Bag-ong Magsusulat sa Bisaya. Sa tuig 2016, nahimo siyang resource person sa Taboan Writers Festival sa National Commission for Culture and the Arts (NCCA). Ang iyang mga obra mabasa sa Bisaya Magasin sa Manila Bulletin, ug Kabisdak Cebuano Literary Lighthouse. Nagtudlo siyag katitikan ug malalangong panulat sa Capitol University. Miyembro sa Nagkahiusang Magsusulat sa Cagayan de Oro (NAGMAC) ug editor sa balak sa Bulawan Literary Journal of Northern Mindanao. Iyang koleksiyon sa Binisayang balak nga giulohag Basa-basâ gipatik sa Xavier University Press karong tuiga.

Alton Melvar Dapanas: Kasagaran sa mga balak sa imong unang librobalak nga Basâ basa (Xavier University Press, 2018) kay mahimo nga ibotang sa erotika nga pamalak. Apan, ang tipikal nga pamalak sa erotika—ug bisan ang erotic romance novel ug erotic nonfiction memoir—kay nailhan nga mas gipalabi ang lawasnong kalipay kaysa emosyonal nga puhunan. Ang imong mga balak nga erotika kay kasagaran kanunay nga nanginahanglan og emosyonal nga kasuod sa persona. Sa imong awtoryal nga interogasyon, makahimo ba kana sa Basâ basa lahi sa ubang mga sinulat sa pamalak nga erotika?

Ton Daposala: Kon sa koleksiyon mismo, dili ko makasulti kon nalahi ba gyod ang Basâ basa  sa ubang pamalak nga erotika. Puyde pod malalisan nga lahing genre o tradisyon ang gisubay niini. Apan kon sa akong “awtoryal nga interogasyon,” ambivalent akong posisyon kay wala gyod nako tuyoa nga makasubay og established concept of erotica. Anaa tingali sa mga pinili nga balak sa koleksiyon apan dili tanan gahisgot lamang sa “lawasnong kalipay.”

Basâ basa (Xavier University Press, 2018)

Usahay pod ang pagbasa sa erotika mahalap pod kay masagol kini sa pornograpiya. Hinuon dunay mga diskorso nga molalis nga ang pornograpiya usa pod ka matang sa pag-obra, apan gusto nako ihisgot kining butanga kay usa ni sa akong mga pamalandong kada makasuwat ko og biga-biga nga balak. Matod pa sa usa ka artikulo “What Distinguishes Erotica from Pornography?”:

The eroticist seeks to portray a vision of both human pulchritude and the potential ecstasy that humans–through sexually joining–can share. One that won’t grow old, or become stale over time (as pornographic images generally do). Also, with pornography, it’s basically “sex for sale.” Artists pursue eroticism, I think, as they pursue beauty. (Seltzer)  

Busa usa sa mga paningkamot sa mga tigmugna kay i-seguro nga dili ra taman sa lagay ang ilang gipangmugna. Dunay tumong o insight makuha sa maong mugna adisir mahimong obra. Ug usa kini sa akong gipaningkamotan isip usa ka estudyante sa pamalak.

Unya bahin sa “emosyonal nga kasuod sa persona,” usa kini sa pamaagi nga madugangan og dimension ang biga-biga nga balak kay, para nako, bisag unsaon pag-categorize nga adunay kalainan ang physical ug emotional koneksyon, ang former usa sa mga klaro nga timailhan o expression sa latter.

Dapanas: Isip usa ka magbabalak sa erotika, nga nakapatik sa Bisaya Magazine sa Manila Bulletin ug sa Kabisdak Cebuano Literary Lighthouse, mipadayag kag pribadong mga kasinatian—pulos nasinati ug gihanduraw—isip publikong mga naratibo ug pasundayag. Apan dili sama sa uban pang klase sa panulat, ang erotika nga pamalak kay moambit sa mga tigbasa og pribado ug seksuwal nga espasyo. Apan sa Basâ basa, adunay affective nga elemento—ang persona kay mipadayag sa iyang seksuwal nga kagana ug sa iyang sikolohikal nga puhonan sa iyang gihinundom ug gihanduraw nga seksuwal nga mga paghimamat. Kini ba ang proyekto sa imong librobalak?

Daposala: Kon sa linguistic nga perspektibo, usa tingali sa rason nga na-ing ana ang epekto kay ang pag-gamit sa punto de bista. Sagad sa mga balak sa koleksiyon kay nag-gamit og “ako” ug “ikaw” nga pulingan (pronoun) ug tungod niini aduna siyay tono nga gakompisal. Ganahan pod ko sa pagduwa sa first ug second person nga point of view kay maka-connect diritso sa magbabasa labi na nga sensuwal kaayo ang pinulongan.

Nasamin pod ni sa akong pagbasa mga balak nilang Pablo Neruda (Viente Poemas ug Ciento Soneto de Amor), Carl Philips (Quiver of Arrows), ug uban pang balak nga mao-mao o susama og agi. Kasagaran sa ilang balak gamugna og duha ka matang sa ilusiyon daw makasil-ip ang magbabasa sa kasinatian sa persona o malakip og participate ang magbabasa tungod sa “ikaw” nga pulingan. Nga bisag sa pipila ka pulong, maila na sa magbabasa kon unsa ug kinsa ning tawhana sa pamalak. Mao ang usa sa masinati sa magbabasa inig basa nila sa koleksiyon.

Usa sa mga gipamalandongan samtang giipon nako ang mga balak para sa koleksiyon kay dili lang ang sagad nga bugal-bugal ug “macho” ang persona niini. Dili gyod malikay nga inig abot sa erotica ug uban pang possibleng ngalan sa katitikan sa intimate connection sa speaker ug addressee, mopatigbabaw gyod ang luhin (gender) niini. Sagad sa mga tingog nga anaa sa mga balak gikan sa straight cisgender kay segurado ang iyang posisyon isip lalaki—which in most cases to a fault.

Gusto nako dulaan kining konsepto sa “lalaki” diin ang tinuod nga lalaki kuno kay hitsuraon, kusgan, isog o kompyansa sa kaugalingon, ug ang iyang paglupig sa babayi ug uban pang lalaki. Hinuon ulahi ra ko nakabasa sa libro ni RW Connell nga giulohan og Masculinities, giigo gyod sa maong libro nga kadaghanan sa mga lalaki o complicit masculinity gasubay sa hegemonic pattern aron makadawat sa benepisyo sa idealized nga lalaki o hegemonic masculinity (Connell 67-80). Kining maong pagtuman sa pattern ang akong gustong dulaan. Unya gipaningkamotan nako nga mahulog ang mga persona nga naay pagka-bugnawg simod, emosyonal, masimang sa iyang pagkompyansa sa kaugalingon, ug intawon sad dili Cassanova apan dili pod santo. Unya maklaro ang iyang vulnerability bisag unsaon niya pagtago niini. Ambot kon nakalusot kini. Anaa ras magbabasa ang makatasal niini.

Dapanas: Sagad sa pamalak sa Pilipinas nga gisuwat sa mga straight cisgender nga mga lalaki nga adunay straight cisgender nga persona kay ang fetishizing sa mga malupigon nga kabutang sa ilang gitinguha nga straight cisgender nga mga babaye. Ikaw, unsaon nimo, isip usa ka magbabalak ug usa ka tawo nga abli sa pagkondena sa misogyny ug heteropatriarchy, paghilabot niini nga walay objectification?

Daposala: Moangkon ko nga dili sayon ang paghilabot nianang butanga labi nang lapad na ang pagsusi sa kahulogan sa objectification. Samot na kon ilakip sa istorya ang paggama sa obra sa erotika kay ang pag-render sa source ngadto sa subject sa sinuwat nahinanglan og partikular nga gaze. Mao sad ang nakapadugang og komplikado sa erotika labina kon ang panan-aw ug tinguha gikan sa straight cisgender nga lalaki ngadto sa babaye. Ug wala may sayop sa pagtinguha, apan ang problema sa kaibog kon ang drive niini kay moresulta sa pagdaugdaog. Imbes ipahayag ang kalidad sa pagkatawo sa subject gipaubos na nuon busa gitawag kini objectifying—gihimo og object.

Apan dili pod ko uyon sa mga extreme nga panupak diin papason ang desire sa mga obra kay ang obra usa ka expression nga innate sa tawo. Ang problema tingali kay kuwang ang pagpamalandong sa pag-overlap sa kaibog ug paglupig. Para nako, ug isumpay ra nako ang akong gitubag sa unang pangutana, ang artist sa erotika kay dili magpalit-ag sa iyang naandan nga konsepto sa pagbiga-biga. Dapat inig human sa pipila ka draft, pangutan-an niya iyang kaugalingon kon gihatagan ba og emphasis ug bili ang koneksiyon sa duha ka tawo samtang eksplikar ang paghilawas? Giwagtang ba ang pagkatawo sa iyang subject? Unsa man ang position sa speaker samtang nagpaniid sa usa ka bahin sa lawas sa subject? Nagpahayag ba og pagdayeg o gipaubos niya? Kon ang tumong kay ipakita nga dili masaligan o simang ang iyang speaker, klaro ba ang insight niini? Asa man ang tinuod nga hulagway ang giobserbahan sa speaker o ang speaker mismo? Ug kada tubag niini dapat matubag pod kon ngano kini iyang gipili nga resulta. Mao pod ang mga gibalikbalik nakong pangutana sa kaugalingon.

Dapanas: Usa ka sa mahimong issue editor sa Payag Habagatan – Special Issue on Contemporary Philippine Poetry in Binisaya kuyog ni Cindy Velasquez. Nangita kag mga balak nga “new, emergent, disruptive, and unapologetically experimental.” Sulti-i kami mahitungod niining umaabot nga proyekto. Unsa ang motibasyon luyo niini? Nganong kinahanglan man ang pagkolekta, pagkura, ug pagtasal sa mga bag-ong sinuwat niini nga genre?

Daposala: Panahon na nga makaipon na pod og Contemporary Philippine Poetry sa Binisaya labi na nga anaa na ta sa punto sa digital age diin kusog ang social media. Nag-anam pod kadaghan ang mga balak gikan sa mga batan-ong magsusulat pati pod ug nagkalapad ang coverage kay dili lang sa Cebu pati pod sa Misamis Oriental, Davao, ug mga partikular nga siyudad sa Caraga.

Apan sa karon base lang kini sa obserbasyon sa mga napatik sa printed ug online sources, mga aktibidad sa ubang local literary groupsMahimuot ko nga makatrabaho kuyog sa mga editors labi na ang ilang mabangka sa umaabot nga diskusiyon sa pag-andam sa Special Issue. Sa mga bag-ong balak nga napatik sa miaging walo ka tuig, daghan na og temperament nga gahisgot sa kontemporaryong konteks sama sa environmentgendernationalug local issues, ug culture.

Sa pipila ka rason nga akong gihisgot, usa gyod sa kindak-ang motibasyon kay ang pagsumpay sa kaniadto ug karon. Ug sa daghang kabag-ohan nahitabo sa edukasyon tungod sa K to 12, all the more reason nga mahatagan na og tagad ang mga nahitabo sa Katitikang Binisaya para mabasahan ug makat-onan sa bag-ong henerasyon.

Dapanas: Nagpuyo ka sa Cebu sa mga pipila ka mga tuig ug karon nahibalik na ka sa Cagayan de Oro niadto pang 2013. Interesado ko sa imong pag-theorize ug pagsukit-sukit sa imong kaugalingon nga linguistic variances sa imong hugpong sa mga sinuwat kaatbang ang heyo-politikal nga mga espasyo nga kas-a nimo gipuy-an (Cebu) ug karon nga imong gipuy-an (Cagayan de Oro).

Daposala: Kon natawo ug nagdako ka sa Cagayan de Oro, dili pa tingali matagad ang kalainan kay mao may naandan pero kon taga-CDO ka ug nakahigayon ka og puyo sa Cebu, ayha pa mabantayan ang kalainan. Busa nahimuot ko nga napatik ang excerpt sa dissertation ni Dr Ferdinand T Cantular sa Xavier University-Ateneo de Cagayan sa ika-38 nga volume sa Kinaadman Journal of the Southern Philippines kay gahisgot kini bahin sa Morphological Borrowing sa Kagay-anon Sebuano. Gibase niya ang iyang study sa Verb Affix Adaptation Theory ug Linguist Adaptation Theory.

Asa man ka makadungog og “Nagluksoha mi human sa final exam gahapon” o “Nagdulaay ra sa Internet Café si EJ.” Kon taga Bogo ka nga nagduaw sa imong mga ig-agaw nga taga Bugo, CDO, unsa kahay reaksyon nimo kon makadungog kas imong uncle “naghulata mi ganiha nimo sa Pier”? Hala, dili kaha mainat imong dunggan?

Apan matod pa sa interbyu ni Dr Cantular ngadto sa anthropologist nga si Dr Erlinda Burton, direktor sa XU Museo de Oro, niingon si Dr Burton nga “such a phenomenon can be expected to happen since CDO was originally occupied by the indigenous people (Manobo-Higaonon) and had become one of the places of migration by the Sebuano-speaking Visayans. The language contact brought about by the encounter of these cultures could result in a language change” (Kinaadman 33-34).

Mahinumdom nako ang unang engkwentro ining kalainan sa Binisaya, dihang nakurat ang usas mga panelista sa pinulongan sa akong gipasa sa 18th Iligan National Writers Workshop. Moangkon ko nga nausab gyod ang akong tingog sa pagsuwat kay bisag tuod nga mahulog kini sa Binisaya, wala gihapon gikonsiderar isip Binisayang Sugboanon ang akong sinuwat ug pipila ka tuig pa nilabay, ayha pa napatik  ang usas akong mga balak sa Bisaya Magasin hangtod nagsunodsunod ang akong pagpatik.

Ambot kon matawgan ba kini og maayo o daotan, apan kon ang hugyaw sa mga rehiyonal nga pinulongan ngadto sa nasod kay mao ang multilingualism, unta pod matagad pod kining nuancessa pinulongan aron dili masaag ang estudyante. Kay kon dili kini tagdan, wala ra silay kalainan sa sistema nga ilang gireklamohan.

Works Cited

Connell, Rae. Masculinities. 2nd Edition. Berkley: University of California Press, 2005. Print

Ferdinand, Cantular. “Morphological Borrowing: A Linguistic Ethnographic Study of Cagay-anon Sebuano Verb Affix Adaptation.” Kinaadman. Ed. Bernadette Tismo. Vol. XXXVIII. Cagayan de Oro: XU Press, 2018. Print

Seltzer, Leon. Psychology Today. 6 April 2011. 1 June 2018. Web

 

Alnag-Libro 2018: Revolusionario a Dandaniw iti Ayat, Biag, & Lengguahe

The public is cordially invited to a back-to-back book launching of bilingual poetry titles by Dr. Sonja Chan and Dr. Aurelio Agcaoili on 25 June 2018, 06:00-08:00 p.m. at Mt Cloud Bookshop, Casa Vallejo, Baguio City.
Dr. Chan has recently served as Professorial Lecturer in Foreign Languages at the Department of Language, Literature and the Arts of the College of Arts and Communication, University of the Philippines Baguio.
Dr. Agcaoili had been appointed twice (in 2015 and in 2018) as U.P. Visiting Professor with the College of Arts and Communication in UP Baguio.

MUTSIKANTAHAN: Musika, Tsikahan, at Kantahan

Ilulunsad ng Departamento ng Filipino at Panitikan ng Pilipinas (DFPP), Unibersidad ng Pilipinas Diliman ang “MUTSIKANTAHAN: Musika, Tsikahan, at Kantahan” sa 29 Hunyo 2018, Biyernes, 3:00NH hangang 6:00NG, sa Silid 1201 ng Palma Hall Pavillion 1, Unibersidad ng Pilipinas, Diliman. Isa itong fundraising project para kay Dr. Ma. Crisanta Nelmida-Flores (o mas kilala bilang “Marot”), bilang tulong sa pagtustos sa mahabang gamutan ng kaniyang sakit. Magkakaroon ng mga pagtatanghal, kantahan, at tsikahan kasama si Dr. Flores.

Higit 30 taon nang naglilingkod sa Unibersidad si Dr. Flores bilang guro sa DFPP bukod pa sa iba-ibang posisyong administratibo na pinamahalaan niya kasabay ng pagtuturo. Ilan sa pinakahuling posisyon niya ay bilang direktor ng Padayon. Ang kaniyang masayahin at positibong disposisyon ang dahilan kung bakit napakamahal siya ng maraming estudyante, at staff ng bawat opisinang kaniyang pinamahalaan, at gayundin ng iba pang administrador na kaniyang nakasama sa UP. Kaya ang “Mutsikantahan” ay isa ring selebrasyon ng mga taon ng paglilingkod niya sa UP at pagkakaibigan.

Para sa mga nais na dumalo sa nabanggit na okasyon, maaaring tumawag kay Gng. Susan Alcantara sa Tel. blg. 981-8500 lokal 2123, at bumili ng tiket na nagkakahalaga ng PHP500. Ang halagang malilikom ay mapupunta kay Dr. Flores. Bukod dito’y maaari ding deretsong magpaabot ng iba pang pinansiyal na tulong na maaaring iabot mismo kay Dr. Flores.

Kritika Kultura Lecture Series presents Alex Taek-Gwang Lee

Kritika Kultura, the international refereed journal of language, literary, and cultural studies of the Department of English, Ateneo de Manila University—in cooperation with the Kagawaran ng Filipino (AdMU)—will host a lecture by Alex Taek-Gwang Lee. The lecture—titled “The Politics of Islands: Deleuze with Marx”—is on July 4, 2018, from 5:00 to 6:30 p.m., at Faura AVR, Ateneo de Manila University. The event is open to the public.

About the Lecture

For Gilles Deleuze, islands are the evidence invoking the disturbing truth of the peaceful silence, because “the very existence of islands is the negation of this point of view, of this effort, this conviction.” They disclose the “interality” from within. Islands cannot be annexed to a continent from which humans expand their political powers to them. They still remain islands, because they are deserted. All islands are desert islands, and are not the part of any continent, even though they have now become the part of the political territory. Accordingly, this presupposition turns into a question as to what a desert island is. Deleuze insists that “an island doesn’t stop being deserted simply because it is inhabited.” The island is “either from before or for after humankind,” i.e., the site prior to being humans. It has no name and no identity. Therefore, it might be meaningless even though people occupy the island, because it is in spite of that deserted. It is because the island as such was defined by humans’ imagination, not by geographical origins, as the derivation of a continent, the marginalized place of worldly powers. People come to islands and transform them to a place like a continent. Here, Deleuze’s conceptualization of islands turns out to be the Leninist allegory of colonialism, i.e., the expansion of capitalism in its highest stage. This conjecture would meet its ground in his discussion of Michel Tournier’s Friday, or the Other Island. Through his arguments, Deleuze dissects one by one Robinson Crusoe’s colonialism. Deleuze criticizes the ideology of Robinson Crusoe and calls it the mythical reconstitution of everyday bourgeois life from an island. Deleuze’s critique seems to come along with Marx’s discussion of Robinson Crusoe in Capital. My talk will discuss the Deleuzian politics of islands in relation to Marx and attempt to suggest a Marxian re-interpretation of Deleuze in the 21st century.

About the Lecturer

Alex Taek-Gwang Lee is Professor of British and American Cultural Studies at Kyung Hee University (South Korea). He has written extensively on French and German philosophy and its non-Western reception, Korean cinema, popular culture, art and politics. He has lectured and published widely in South Korea and beyond. In a quest to discuss today’s continued importance of communist principles with contributions from intellectuals across the world and particularly Asia, he co-edited the book The Idea of Communism 3 with Slavoj Žižek (2016).

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, Arts and Humanities Citation Index (Clarivate), Scopus, EBSCO, the Directory of Open Access Journals, and the International Consortium of Critical Theory Programs (ICCTP). For inquiries about submission guidelines and future events, visit http://journals.ateneo.edu/ojs/kk or email kk.soh@ateneo.edu.

UP Baguio Call For Applications: Full-Time Teaching Position

The Department of Language, Literature and the Arts of the College of Arts and Communication, University of the Philippines Baguio is in need of a full-time faculty of Filipino for AY 2018-2019.

Application letters and scanned copies of required documents may be sent via email; printed copies to follow.

Nadera, Vim

Victor Emmanuel Daelo Carmelo Nadera Jr. aka Vim Nadera is a Professor 3 from the University of the Philippines Diliman on secondment as the Director IV of the Philippine High School for the Arts.

Together with his wife Ellay, he founded the Foundation AWIT (Advancing Wellness, Instruction, and Talents) Inc. in 2008 after their four-year old son Awit, who had Global Developmental Delay, succumbed to pneumonia.

After taking his B.S. and M.A. in Psychology from the University of Santo Tomas, he became an expressive arts therapist to cancer survivors, persons with AIDS (PWD), drug patients, “comfort women,” streetkids, as well as victims of abuse, calamities, and grief.

It became instrumental in coming up with what was believed to be “the Asia’s first expressive arts workshop” — at the National Arts Center in 1995.
After a year, his satire Sens Op Tyumor (1996) wherein victims became victors as actors was staged at Insular Life Auditorium.

Since the turn of the millennium, he had been conducting poetry therapy sessions with Persons With AIDS (PWA) at the Bahay Lingap of the San Lazaro Hospital.
In cooperation with Citizens’ Drug Watch, he did the same for the National Bureau of Investigation Treatment and Rehabilitation Center in Tagaytay City.

He had given expressive arts workshops at the Stairway Foundation in Puerto Galera, Mindoro for their N.C.C.A.-funded performance poetry production Hikbi/Hibik ng Lansangan from 2000 to 2001. Philippine Society of Oncology (PSO) supported his tour around with visual artist, Wilson Ma, in its outreach program called Three Ps (or Poetry, Painting, Photography) in private and government hospitals inside and out of Metro Manila. During the PSO’s 50th anniversary on 11 September 2014, he was honored with the Community Service Award for conducting poetry workshops in different cancer wards.

A former commissioner of UNESCO National Commission of the Philippines’s Culture Committee, he is a member of the Commission on Higher Education’s Technical Committee on Literature and the Philippine Center for Gifted Education’s Board of Directors.

As part of the NCCA Committee on Literary Arts, he was chosen to defend its choice for the controversial National Artists Award in 2009.

His other projects include the text-a-poem contests such as Textanaga (2003), Dalitext (2003), Dionatext (2004), and Textsawikain (2005). He also initiated the first student literary conference called Panitikabataan. During his term, Likhaan: A Journal of Contemporary Philippine Literature and the Gawad Likhaan: The U.P. Centennial Literary Awards came into being. The portal to Philippine literature panitikan.com.ph is his brainchild too like Pistang Panitik or Literary Fiesta which coincides with the annual Manila International Book Fair since 2006. For three years, he had been the proponent of Pagpupugay sa mga Pambansang Alagad ng Sining.

Every Tuesday he had been handling since 2004 Conspiwriters’ Tuesdays at the Conspiracy Garden Café while every last Monday of the month he had been hosting since 2008 O.M.G. (Open Mic Gig) at the Mag:Net Gallery in Katipunan where its owner, Rock Drilon, allowed his installation called State of Emergency when he opened it on 13 March 2006 by staying frozen inside its Poets’ Alcove for hours.

On 10 Mar 2006, after his lecture called Abadillismo he launched a compact disc he produced entitled Kaakuhan in honor of Alejandro G. Abadilla, which can be divided into Mga Tula ni AGA and Mga Tula kay AGA.
Fr. Robert Reyes invited him in 2007 to train Overseas Filipino Workers to become “histourist guides” in the so-called Jose Rizal Trail in a project known as Lakbay Dangal.

In 2009, he helped conceptualize and organize Word Jam and the Literary Zone during the yearly Pasinaya at the Cultural Center of the Philippines. As a fund-raising campaign for both Ondoy and Pepeng victims, Vim gathered literary artists together for Dilang-Anghel part of the CCP’s SagipSining initiative that very year too.

Vim was recognized internationally when he became a South East Asia Write Awardee (2006) as well as nationally when he was chosen as one of The Outstanding Young Men (2003) and recipient of the Gawad Balagtas (1998) from the Komisyon sa Wikang Filipino. In Manila, he twice received the Patnubay ng Sining at Kalinangan — for Theater (2014) and for Literature (2010). He was selected as Natatanging Anak ng Quezon (2003) and Natatanging Anak ng Tayabas (2006).

At UST, he received the TOTAL or The Outstanding Thomasian Alumni Award (2007); 80th College of Science Anniversary Jubilee Achievement Award (2007); Fr. Angel de Blas Outstanding Achievement Award (2004); Cum laude, Master of Arts in Psychology (1996); Ten Outstanding Thomasian Writers (1995); Rector’s Faculty Development Grant (1994); and Varsitarian Scholarship (1983-1986).

UP granted him the Artist I, UP Arts Productivity System (2013-2016 and 2009-2012); 27th Anniversary College of Arts and Letters Service Award (2010); U.P.Centennial Publications for [H]ISTORYADOR[A] (2008); U.P.Centennial Publications for Mujer Indigena (2008); U.P. Centennial Publications for Aklat Likhaan (2008); U.P. Portfolio Professorial Chair (2005); Federico Alcuaz Professorial Chair Award (2004); Gawad Chanselor as Outstanding Artist (2004, 2003, 2002, and 1999); Natatanging Publikasyon sa Filipino Award (2002); Leopoldo Yabes Award as Outstanding Assistant Professor (2001); Creative Work and Research Scholarship Fund (2000); and Nancy Sena Faculty Grant (2000).

Quezon National High School gave him the Dangal ng Quezon High during 110th Quezon National High School Founding Anniversary and Grand Alumni Homecoming (2012) and the honor to be its graduation speaker last 27 March 2015.

As a poet, he became the youngest Poet of the Year (1985) who also won the National Centennial Commission Literary Prize for Epiko (1998); Gantimpalang Collantes, Talaang Ginto for Tula (1994 and 1992); National Book Award (1995); Carlos Palanca Memorial Awards for Literature for Tula (1992); Carlos Bulosan Award for Tula (1990). As an essayist, he bagged Gantimpalang Collantes, Talaang Ginto for Sanaysay (1996) and Cultural Center of the Philippines Grant for Sanaysay (1994). As a playwright, he was given the Cultural Center of the Philippines Grant for Playwriting (1992). As filmmaker, he got the MOWELFUND Film and Video Grant (1990). As a novelist, he received the Juan C. Laya Award for Best Novel in Filipino (2007) and the National Centennial Commission Literary Prize for the Nobela (1998).

On 30 December 2015, during the 119th Rizal Day celebration, he was recognized by his hometown in Tayabas City for being one of the Unyon ng mga Manunulat sa Pilipinas’ Gawad Pambansang Alagad ni Francisco Balagtas (2015).

He collaborated with Elmer Borlongan who created letras y figuras using iPad in his poetry collection Rizalpabeto (The Center for Art, New Ventures, and Sustainable Development, 2012).

In his Kayumanggi (UST Publishing House, 2011), Vim’s poems are turned into wearable art by Lorina Javier, photographed by Dominique James, set into music by Fer Edilo, designed by by Mannet Villariba, and translated by Arvin Mangohig, Vic Nierva, and Francis Quina. Digital artist and photographer Pinggot Zulueta and layout artist Albert Gamos helped him come up with his poetry anthology Asinta: Mga Tula at Tudla (UST Publishing House, 2002). In 2008, composer Paul Val Peña turned some of those poems into songs in the compact disc Katoto.

His novel [H]ISTORYADOR[A] (UP Press, 2006) and epic Mujer Indigena (UP Press, 2000) placed second in the Centennial Literary Prize in 1998. In 1994, two of his poetry books were nominated to the National Book Award but his 15 Lamang (De La Salle University Press, 1994) was luckier than his ALIT: Dalit Galit Halit Malit Ngalit Palit Salit (Anvil Publishing House, 1994).

His masteral thesis was published as Poetreat: The Use of Poetry as a Therapy in Mutual Support Groups of Cancer Survivors in Metro Manila (UST Publishing House, 2006). His dissertation was concluded with his poems about rice put together as songs by alternative music icon Joey Ayala and other respected artists who joined forces in the CD called Palay, Bigas, Kanin.

He, too, is a performer. On 12 June 1998, through the partnership of the National Centennial Commission and UMPIL, he directed, produced, and performed in his biggest and best performance poetry project ever — the literary gathering entitled (KA)LAKARAN: Sentenaryo ng mga Makata ng Bayan — wherein the performance artists played the role of their favorite Filipino heroes at Glorietta.

As a performance artist, he represented the Philippines in art festivals in South Korea (2013), Germany (2013), Thailand (2012 and 2006), United States (2011), Japan (2010), Singapore (2008 and 2002), Taiwan (2007, 2006, and 2001), and Malaysia (2001 and 2000).

As a lakandiwa, he is the V in the Balagtasan team – MTV — with M or Mike Coroza and T or Teo Antonio who were invited here and abroad, particularly to the Filipino American Book Festival 1 and 2 at the San Francisco Library and the Union City Hall, both in California, and at the Bowery Poetry Club in New York.

He was a delegate to the 27th Tokyo International Film Festival on 23 October 2014 as the Godfather in Khavn de la Cruz’s indie film Ruined Hearts.

Chosen by the Cultural Center of the Philippines, he is the Festival Director of the international litfest Performatura: Performance Literature Festival in 2015, 2017, and 2019.

LIST OF WORKS

Poetry

  • Rizalpabeto, The Center for Art, New Ventures, and Sustainable Development, 2012
  • Kayumanggi, UST Publishing House, 2011

Essay

  • Sikolohiyang Pilipino sa Pag-unawa sa Sarili, Komisyon sa Wikang Filipino, 2017
  • Tula Bilang Terapiya, Ani, Cultural Center of the Philippines, 2014

Compact disc/Cut

  • Ang Ginto Sa Makiling (kasama si Greg Zuniega), Philippine High School for the Arts, 2017
  • Performatura Theme Song (kasama si Diwa de Leon), Cultural Center of the Philippines, 2015
  • Kasa-kasama Kita (kasama si Diwa de Leon), Philippine Society of Oncologists Inc. 2014
  • Dito (kasama si Diwa de Leon), Araw ng PHSA’s Official Sound Track, Philippine High School for the Arts, 2014
  • May Laya, Indio’s Official Sound Track, GMA 7, 2013
  • Aking Anak (Awit Ng Isang Ina), Indio’s Official Sound Track, GMA 7, 2013
  • Pamana (kasama si Coke Bolipata), UNESCO Commission on Culture, 2013

Fellows to the 1st Ateneo Libulan LGBT+ Writers Workshop named

As part of the MoonLIT LGBTQ+ Festival, the Ateneo Libulan Circle, in cooperation with southern writers bloc Libulan Queer Collective, is set to hold the 1st Ateneo Libulan LGBT+ Writers Workshop (ALLWW), a creative writing fellowship for aspiring Filipino LGBTQIA+ writers, on June 27, 2018 at the Ateneo de Davao University in Roxas Avenue, Davao City.

Focusing on developing emerging voices across the different Philippine languages, the writing fellows named for this year are Jasmine Arcega(Davao City), Helena Maria Baraquel (Quezon City), John Gilford Auxilio Doquila (Cagayan de Oro City/Davao City), Lauren Sevilla Faustino/Diwa Malaya (Binondo), Lynn Jairus Montilla (Tacloban City), Carlo Rey Vidamo (Malabon City), and Celine Grace Villafane(Koronadal City).

The panelists for this year’s workshop are composed of diverse southern young writers across the gender spectrum—queer essayist and poet Alton Melvar Dapanas of Cagayan de Oro City, gay fictionist and playwright R Joseph Dazo of Cebu City, pansexual poet Chris David Lao of Davao City, and lesbian poet and essayist Ria Valdez of Davao City. Bisexual poet Mariel Alonzo of Davao City serves as the workshop director.

The MoonLIT LGBTQ+ Festival is organized by the Ateneo Libulan Circle, with the support of the Libulan Queer Collective and with gracious support of  BooksActually (Singapore), Platypus Press (UK), The Proud Trust (UK), Graywolf Press (US), and SAND Journal(Germany).

MA in Literary and Cultural Studies Program (AdMU) Hosts Graduate Students Symposium

The MA in Literary and Cultural Studies Program (MA LCS) of the Department of English (AdMU) will host a symposium on June 20, 2018, from 8:30 a.m. to 5:00 p.m., at Faber Hall Function Room (AdMU). The symposium—titled Literary Limitrophies—showcases MA LCS students’ various capacities in archival research, theoretical engagement, and textual and cultural analysis.

The nine participants of the symposium are MA LCS students who have either recently graduated from the program or are finishing their thesis. The symposium will have three panels: (1) Memory, Bodies, and Trauma; (2) Autoethnography, Flanerie, and Urbanity; and (3) Alterity, Performance, and Politics. The presentations in Literary Limitrophies represent thought-provoking and timely theoretical and methodological interventions by MA LCS students, and point towards—despite numerous difficulties that condition and impede scholarship in the humanities—exciting research areas ahead: areas which, as the symposium title suggests, lie close to, if not beyond, current limits in the discipline of literary and cultural studies.

The symposium presenters are: Jimmy Dillo, Jr., Raymon Ritumban, Liza Constantino (Memory, Bodies, and Trauma); Mary Joy You, Karen Mata, and Franchesca Borras (Autoethnography, Flanerie, and Urbanity); Victor Bautista, Alexis Abejo, and Regina Regala (Alterity, Performance, and Politics). The keynote speaker for the symposium is Patrick Flores (Professor of Art Studies, University of the Philippines Diliman); the symposium convenor is Maria Karaan.

The symposium is open to the public.