Panawagan sa Pagtanggap ng Akda para sa ika-34 Gawad Ustetika

Ang Gawad Ustetika ay ang taunan at pinakamatagal na patimpalak pampanitikan sa kolehiyo sa bansa. Itinataguyod ito ng Varsitarian, ang opisyal na pahayagang pang-mag-aaral ng Unibersidad ng Santo Tomas.

 

Sa ika-34 taon ng Gawad Ustetika, inaanyayahan ang mga manunulat na patuloy na ipagdiwang at itanghal ang panitikang Tomasino!

 

Narito ang mga madalas itanong hinggil sa pagsali sa Gawad Ustetika:

 

  1. Sino-sino ang maaaring lumahok sa ika-34 Gawad Ustetika?

> Maaaring lumahok sa ika-34 Gawad Ustetika ang lahat ng kolehiyong Tomasino na naka-enroll sa mga programang batsilyer o graduwado ng Unibersidad sa una at ikalawang semestre ng akademikong taong 2018-2019.

 

  1. Maaari ba akong magpasa ng akdang naparangalan na?

> Ang mga akdang hindi pa naililimbang ang maaari lamang ipasa. Hindi rin maaaring ilahok ang mga akdang nagwagi na sa ibang patimpalak pampanitikan sa loob o labas ng bansa.

 

  1. Ano-ano ang mga kategoryang maaari kong lahukan?

> Tatanggapin ang mga akdang nakasulat sa Ingles o Filipino. Bukas ito sa mga kategoryang Tula, Katha, Sanaysay, Poetry, Fiction, Essay, at Dulang May Isang Yugto/One-Act Play.

 

  1. Maaari ba akong magpasa ng higit sa isang piyesa sa partikular na kategorya?

> Hindi, ngunit maaaring magpasa ng iba pang akda sa ibang kategorya. Limitado naman sa iisang piyesa lamang ang maaaring ipasa sa kategoryang Dulang May Isang Yugto/One-Act Play.

 

  1. Mayroon bang limitasyon sa pahina ang mga nasabing kategorya?

> Mayroon. Limitado lamang sa 12 pahina ang Katha, Sanaysay, Fiction, at Essay, habang ang mga lahok na akda sa Dulang May Isang Yugto/One-Act Play limitado naman sa 15 pahina. Kinakailangan namang koleksiyon ng lima (5) hanggang sampung (10) tula na may kahit anong haba ang mga lahok para sa Poetry at Tula.

 

  1. Kinakailangan ko bang gumamit ng alyas o pen name?

> Oo, sapagkat blind screening ang magiging proseso. Sa entry form lamang kinakailangang isulat ang tunay na pangalan ng may-akda. Maaaring ma-disqualify ang mga mapag-aalamang nagsulat ng pangalan sa ipinasang akda.

 

  1. Ano ang dapat kong ilagay sa brown envelope?

> Ilakip sa isang brown envelope ang mga sumusunod: apat na photocopy at isang orihinal na kopya ng akdang makinilyado (Time New Roman, size 12, double-spaced), kopya ng akdang nakalagay sa isang CD (MS Word at PDF format), natapos na application form, kopya ng registration form ng kalahok at certification of originality na nilagdaan ng dalawang propesor sa Ingles o Filipino.

 

  1. Kailangan ko bang maghanda ng isa pang brown envelope sakaling nais kong magpasa sa isa pang kategorya?

> Oo, kinakailangang ilagay sa magkahiwalay na envelope ang bawat akda at mga hinihinging requirements.

 

  1. Saan ako makakakuha ng application forms?

> Maaaring kumuha sa tanggapan ng The Varsitarian, Room 105 ng Tan Yan Kee Student Center. Mayroon din itong kopya na maaaring i-download sa https://bit.ly/2ENLLfp.

 

  1. Saan ko dapat ipasa ang akda at iba pang requirements?

> Ipasa ang mga akda sa opisina ng The Varsitarian, Room 105 ng Tan Yan Kee Student Center hanggang ika-26 ng Enero, 2019, 9 p.m.

 

Para sa iba pang mga katanungan at detalye, tawagan sina Alyssa Gonzales (0949 670 7485) at Francis Braganza (0939 193 0391), o ang tanggapan ng Varsitarian sa 406-1611 loc. 8235.

Rappler | Poet Tita Lacambra Ayala dies

By FRANK CIMATU

BAGUIO, Philippines – “Paalam Nay…10:37” was all musician Joey Ayala wrote on Facebook, and the Filipino literati understood.

Tita Lacambra Ayala, the poet much loved from Ilocos Norte to Davao City, died at 10:37 pm Wednesday, January 9, while combatting pneumonia in Davao City. She just turned 88 last January 2.

She is the mother of Joey Ayala, singer Cynthia Alexander, healer Laura Isabel, and poet Fernando.

Tita founded the Davao Writers Guild and recently edited their Davao Harvest 3. She was also behind the famous Road Map Series, which showcased Mindanao writings for 30 years.

She was born in Sarrat, Ilocos Norte, and finished Education at the University of the Philippines Diliman. She settled in Baguio before moving to Davao with husband Jose V. Ayala, a painter.

Tita Lacambra Ayala published Sunflower Poems (Filipino Signatures, Manila, 1960), Ordinary Poems (Erehwon Publishing, Manila, 1969), Adventures of a Professional Amateur (UP Press, 1999), and Friends and Camels in a Time of Olives (UP Press, 1999.)

Among her awards were the Gawad Balagtas for Poetry in English (1991), Manila Critics Circle Special Citation for Road Map Series (1989), Philippine Free Press Awardee for Short Story (1970, 3rd Prize), Focus Philippines Poetry Awardee, and National Fellow for Poetry, UP Creative Writing Center (1994-1995).

In a post on his Facebook page, Joey Ayala thanked the public for their prayers and condolences. He also said that they are planning an unconventional memorial for their mom.

Napakarami niyang na-inspire na creativity dito sa Davao at sa kung saan-saang sulok ng mundo so baka hindi rin gaanong conventional ang mangyayari,” he said.

(She inspired so much creativity here in Davao and in all corners of the world, so what happens may not be that conventional.)

“We will let you know where and when you can visit and say a formal Farewell in the next couple of days. Meanwhile, here’s to Artful Living, an Art-filled Life, and a Life of Artistic Creation. Padayon!”

 

Originally published by Rappler on Jan. 10, 2019 with url https://www.rappler.com/life-and-style/arts-and-culture/220648-poet-tita-lacambra-ayala-dies

UPRHS Literary Zines 2018

Pagpapakilala sa Proyekto ng UP Rural Senior High School

Bawat semestre ay pag-eeksperimento sa mga bagong mukhang tinuturuan sa Malikhaing Pagsulat. Batambata pa ang kurso kasabay ng pagpapatupad ng programang K-12 at ng Senior High School. Kaya hanggang ngayon, nangangapa pa ang guro kung paano ituturo ang kakayahan at gayundin naman ang mga mag-aaral sa kung paano matututunan ang kakayahan. sa Patuloy na paghahanap ng mga guro at mga mag-aaral sa kaliwanagan sa gitna ng chaos ng bagong sistema.

May mga panahong nawawalan na rin ng pag-asa kung paano maitatanim sa isip ng mga mag- aaral ang binhi ng kahalagahan ng sining, ng pagsulat, sa kamulatan nila sa kanilang paligid at sa sarili. Subalit, madalas, dulot na rin ng napakaraming intindihin, ang guro ay hindi rin nababasa ng husto ang husay ng mag-aaral. Minamaliit at tinitingnan na mas mababa sa nagtuturo kaya napagkakaitan ng oportunidad upang maipakita ang kanilang galing.

Sa huli, napagtanto ko rin na hindi pinagkaitan ng talento ang mga mag-aaral sa kabila ng mahigpit na kurikulum tutok sa agham at matematika. Kayang lumaban ng binhi basta’t mabibigyan lamang ng tamang avenue at pagkakataon. Narito ang bunga ng umusbong na mga punla.

Prof. Cris Lanzaderas

 

Inquirer.net: The Artist Abroad | Playwright Alberto S. Florentino, 1931-2018

 

NEW YORK—I heard last month, from the fictionist Cecilia Manguerra Brainard, that the writer Alberto Florentino had passed away in late September. The immediate cause of death was pneumonia, complicated by the fact that he had had Alzheimer’s for some time. At the time of his death, Bert had been living with his wife, Eva, in Portland, Oregon, where they had moved from New York about a decade ago, to be closer to their daughter Lisa and her family.

I knew of Bert before I met him in New York. He had made a name for himself by winning a Palanca award for his play The World Is an Apple, when he was all of twenty-three years of age.

Significantly, Bert had also been the publisher of Peso Books, that aimed to make available, especially to students, inexpensive reprints of works by well-known Filipino authors. The first number in that no longer extant series was Poems 55, by Jose Garcia Villa. (I once had a copy and may still have it but have been unable to locate it in the tangled maze that my library has become.)

Ateneo de Manila University Press just launched last October a series of its own, the Ateneo Blue Books, similar to Bert’s Peso Books.

This is from Karina Bolasco, the press director and editor-in-chief:

“In the United States, in the early twentieth century, the Halderman-Julius Publishing Company printed booklets that it called Little Blue Books. Intended for a working-class readership, they were affordable … and portable …. They were called Little Blue Books because their covers were (usually) in blue or grey and because they were meant to educate blue-collar workers. The coverage of the Little Blue Books ranged from the classics to politics and housekeeping. By the time it folded up in 1978, the Halderman-Julius Publishing Company had published about eighteen hundred titles … and had sold millions of them.

“About two decades before the last of the Little Blue Books were published, in the Philippines, the playwright Alberto S. Florentino wanted to bring Philippine literature, particularly literature written in English, to a wider audience. Much of it had remained uncollected in periodicals, but libraries could not be relied on to have their holdings intact—the Second World War had so devastated the country. What was being taught in schools, through the high school textbook series ‘Philippine Prose and Poetry,’ did not necessarily reflect the best work of Filipino authors, the selections having to conform with the reading level and emotional maturity of students.

“It was the poet Jose Garcia Villa who prompted Florentino to venture into publishing something like the Little Blue Books for Filipinos. Villa agreed to have Florentino reprint a selection of his poems if it was to be sold at no more than a peso a copy. In 1962, with the publication of Villa’s Poems 55, the Peso Book was born. Made at a cost of thirty centavos a copy, each Peso Book measured only 4 x 7 inches, but the impact of the series on the shape of the Philippine literary canon was significant. Until the 1990s, writers of textbooks, anthologies, and scholarly articles in Philippine literature relied on the texts that the Peso Books made readily and cheaply available.

“In initiating its own line of booklets, the Ateneo de Manila University Press draws inspiration from these precedents. The Ateneo Blue Books are a compact library of Filipino literature written in English; they are intended for young Filipino readers, whose acquaintance with Philippine literature, given the force of a Westernized globalization, is passing. Each book consists of one work or a selection of works by an important Filipino author and, in the spirit of the chapbook of the Early Modern Period and the penny dreadful of the nineteenth century (both remote predecessors of the Little Blue Books), comes accompanied by illustrations by notable Filipino artists. Taken together, the Ateneo Blue Books are a sampler of an author’s oeuvre or of a literary type and as an act of recovery and rediscovery.

“It is dedicated to Alberto S. Florentino.”

In an e-mail, the poet and novelist Alfred “Krip” Yuson had this to say about Bert:

“I remember Bert most fondly for the years, from the late ’60s up, when I dropped out of UP [University of the Philippines] to join his stable of scriptwriters for Balintatawdirected by Cecile Guidote. Frankie Osorio and I collaborated on a number of one-hour teleplays adapted from Pinoy short stories selected by Bert. That led to my being recruited by Cecile’s PETA [Philippine Educational theater Association] for acting in the first plays staged at Raja Soliman Theater in Fort Santiago, starting with Virgie’sBayaning Huwad, then Larawanwhich Cecile had Frankie and me translate from Nick Joaquin’s Portrait.

“We kept up with email correspondence when he and Eva were already in NY, and I recall meeting up with him and Ninotchka in 1995 when I was part of FVR’s media troupe for the UN’s 50th birthday. After that he came home once, and I recall taking pics of him and you together at some literary event.”

Brainard has her own recollections, which she details in the online magazine Positively Filipino:

http://www.positivelyfilipino.com/magazine/farewell-to-filipino-writer-alberto-s-florentino-1931-2018

Here in New York Bert was part of the Filipino-American Writers of North America, or FAWNA, that some of us had formed in the 1980s. Aside from myself and Bert, its members included fictionist Ninotchka Rosca, playwright Linda Faigao-Hall, poet Luis Cabalquinto, critic and essayist Antonio Manuud (+), fictionist Angel Grey Domingo (+), and political activist Ramon Hodel (+).  I am sure there were a few others whose names escape me now.

FAWNA was short-lived. As someone once quipped, organizing writers is like herding cats. But we did a few readings, the biggest one being at the St Mark’s Poetry Project, held at the landmark St Mark’s Church in the East Village.

Bert’s daughter Leila was then an aspiring singer and actress, and eventually landed the lead role on Miss Saigon, on Broadway. She acted in a short film I made, Flip’s Adventures in Wonderland.

I knew of Bert, from Peso Books and the Balintatawtelevision series, before meeting him and Eva. He was one of the most congenial writers I had ever met. He had no airs, was always in good humor, and forever bubbling with ideas for literary projects. Age had as yet to dim his infectious enthusiasm. We had some fun times together back when, it now seems, the temper of the times was, while certainly not innocent, not as bitterly partisan as it is now.

Adios, Kasamang Bert!

Copyright L.H. Francia 2018

Originally published on November 21, 2018 with this url https://usa.inquirer.net/16905/playwright-alberto-s-florentino-1931-2018#ixzz5YMJJ1Uth

Hasik: Lunsad-Aklat ng mga Pausbong na Manunulat

Apat na aklat ng mga bagong manunulat ng ating henerasyon ang ilulunsad sa 14 Disyembre 2018, Biyernes, 3pm sa Ninoy Aquino Library and Learning Resource Center (NALLRC), PUP Main Library, Sta. Mesa, Manila.
Ang mga aklat na ito ay ang sumusunod:

Ilang Bitbit sa Pagsagip sa Sarili ni Rommel Fábros Bonus 

Sa koleksiyong ito ng mga creative nonfiction—mulang personal hanggang impersonal—ay tinangkang ikuwento ang hindi na nga dapat kuwento, mga ordinaryong karanasang katulad ng pagkatinik sa lalamunan, karaniwang mga pagkawala tulad ng paglisan ng mga magbabarkada sa kinalakihang bakanteng lote, at paglalakbay sa sariling bayan. At habang nagbibitbit ay mas mapaglilimian ng awtor ang kabalintunaan ng pagbibitbit gayong wala naman talagang nabibitbit sa pagtatangkang ito ng pagsagip sa sarili.
Regular price: 275
Pre-order and launching price: 245

Alikwat ni Natalie Pardo Labang

Ang Alikwat ay binubuo ng mga tulang nailuwal sa pamamagitan ng paghalungkat sa loob at labas ng pagkatao ng makata—mga tulang matagal nang natutulog sa mga kuwaderno sa istante, mga tulang inaalikabok na sa taguan, naalikwat at pinagpagan.
Regular price: 230
Pre-order and launching price: 200

Kung Saan Mang Dulo ni Xeus Dela Cruz Foja

Pinapaksa ng mga tula sa koleksiyon ang konsepto ng paningin (o kawalan nito), pananaw, at pagtula habang sinisiyasat ang saklaw at maging ng mga hangganan nito.

Regular price: 230
Pre-order and launching price: 200

Kislap-Diwa: Mga Pagmumuni sa Panitikan, Pelikula, at Kultura nina EJ Bolata at John Patrick Manio, mga tagapatnugot

Binubuo ang Kislap-Diwa: Mga Pagmumuni sa Panitikan, Pelikula, at Kultura ng mga panunuri at pananaliksik sa mga larang at tema sa panitikan, pelikula, at kulturang Pilipino. Layunin nitong mag-ambag ng mga pananaw, pamamaraan, at materyal sa kasalukuyang lawas ng iskolarsyip sa humanidades at agham panlipunan galing sa mga papasibol na manunulat.

Mga Manunulat:
Jay Israel B. De Leon, Ezjae Yao Zemana, Emmanuel Jayson V. Bolata, Jeremiah D. Azarraga, John Patrick P. Manio, Maria Graciella F. Musa, Carl Adrienne C. Santos, Karl Serafin S. Jago-on, Christian Ely F. Canaveral
Paunang Salita ni Ramon G. Guillermo

Regular price: 270
Pre-order and launching price: 250

Para sa mga karagdagang detalye, mag-antabay sa Facebook page ng Hinabing Salita, ang tagapaglathala ng mga nasabing aklat: https://facebook.com/hinabingsalita/

Call for Emerging Writers from the Visayas: The 2019 Cebu Young Writers Studio

 

The Libulan Queer Collective, a writers bloc of queer poets, essayists, fictionists, and playwrights from the southern Philippines, in partnership with YOUTeacH Philippines-Central Visayas and young writers collective Hablon, is now accepting applications to the 2019 Cebu Young Writers Studio to be held on February 2019 in Cebu City.

The Cebu Young Writers Studio, an adaptation of the Cagayan de Oro Young Writers Studio, is an annual creative writing fellowship for 12 of the most promising emerging poets, fictionists, essayists, playwrights, and screenwriters born and/or based in the regions of Western Visayas, Central Visayas, and Eastern Visayas. Fellowships are available per genre — poetry, fiction, creative nonfiction/essay, and drama. (Applicants may apply for more than one genre.)

To be eligible, an applicant must (1) be born and/or based in the Visayas and (2) not have attended any regional and national writers’ workshops organized by reputable creative writing centers and institutes.

Entries (original and unpublished works) in Binisaya and/or English (or those written in Hiligaynon, Waray, and other Visayan languages with translations to Binisaya and/or English) shall be composed of any of the following:

For a Poetry fellowship: a suite of 3 poems written for the page or for performance (not more than 60 lines each); or

For a Fiction fellowship: 2 short stories (2000 to 5000 words each) of any genre; or 1 novel chapter (3000 to 6000 words each) with a synopsis; or a suite of 3 works of flash fiction (500 to 1500 words each); or

For a Creative Nonfiction/Essay fellowship: 2 works of creative nonfiction (2000 to 5000 words each) such as nonfiction memoir, personal essays, travel writing, or other hybridized forms; or a suite of 3 micro-essays or works of flash nonfiction (500 to 1500 words each); or

For a Drama fellowship: 1 one-act play or 1 short screenplay.

The general theme for works to be submitted this year is on ‘sub/urbanscapes’—literary pieces that discuss sub/urban spaces and places in the Visayas—but is not confined only to this theme. Works that reflect the dynamics between the queer place and queer person may also qualify for the Libulan Queer Fellowship.

This creative writing fellowship will include manuscript critiquing, craft lectures, parallel writing exercises, and mentoring sessions to be facilitated by young writers from the Visayas — Wilfreda Cabusas, Jessrel E Gilbuena, Jae Mari Magdadaro, Richellet Chan, and Arian Tejano. Libulan queer anthology co-editor Alton Melvar Dapanas, multilingual playwright and poet Mai Santillan, and poet Thomas Leonard Shaw will serve as guest panelists. Fictionist and playwright R Joseph Dazo is the workshop director.

The workshop will also feature craft lectures by editors of the forthcoming Dan-ag Literary Journal of Central Visayas — poet and lyricist Cindy Velasquez on poetry, fictionist and screenwriter CD Borden on fiction, playwright and director Rudy Aviles on playwriting, and essayist Johanna Michelle Lim on creative nonfiction.

The Cebu Young Writers Studio aims to assert a creative writing culture of mentorship and critiquing in the Visayan regions and institutionalize an open training platform for beginners of the creative writing craft.

Accepted fellows will be provided with a certificate, lunch, and snacks. (There is no registration fee but fellows, if accepted, will shoulder their own transportation and accommodation expenses to and from the venue during the whole duration of the workshop.)

Electronic copies, in MS Word format, Garamond font 12, of the manuscript may be emailed to libulanqueercollective@gmail.com with the subject Genre_CYWS (example, CNF_CYWS). The author’s name should not appear on the manuscript. On the email’s body, kindly put your full name, address (within the Visayas), institutional affiliation (workplace and/or school), mobile number, and a short bio note (150-300 words in the third person).

Deadline for the submission of manuscripts is on 5 January 2019. All inquiries must be addressed to the workshop director through the indicated email address.

Senior high school/college teachers of Literature/Panitikan and Creative Writing/Malikhaing Pagsulat courses from the Visayas who wish to observe the sessions may send a letter of intent to the workshop director through the email.

The Libulan Queer Collective is the writers’ bloc behind the Libulan: Binisaya Anthology of Queer Literature and the online literary journal Payag Habagatan: New Writings from the South.

Call for Submission: An International Poetry Anthology in English

Magnum Opus

An International Poetry Anthology in English

 (Submit Your Only One Poem i.e. Master Piece)

(It’s simply a waste of time and labour if poem is submitted without reading the complete submission guidelines!)

Submission Deadline: 31 Dec 2018 (Midnight) 

Publication Expected: 2019 

Publisher: Authorspress, New Delhi, India 

Editor: Dr. Vivekanand Jha

 

Theme

Poem can be of any theme but it should be your magnum opus. The goal of anthology is to display the greatest contemporary poems wrapped up in one book. The title is self-explanatory and will showcase the greatest single poem of the every poet being featured. It means the poem that you submit for this anthology is well appreciated, examined and published earlier.

Submission Requirements

It is requested to submit your magnum opus poem.

To submit work, please:

  • Send only one poem, of no more than 50 lines at magnumopuspoem@gmail.com
  • Poem should originally be written in English. No translation, please.
  • Include a bio in maximum 100 words.
  • Submission of more than one poem shall be rejected without intimation.
  • Save MS word file with your name, paste your bio, email id and poem into it. Send it as an email attachment.

Selection

Mere submission of one’s magnum opus won’t qualify for the poem to be included in the anthology. Editor reserves the right to select the poem suiting the aim of the anthology and his decisions will be final. Final selection will be made after deadline for submission is over. Decision for selection or rejection will be intimated to individual in due course of time. It’s no use making query in between.

Dimension

We will be accepting submissions from poets all over the world.

Copyright and Acknowledgement

Copyright of the selected poem shall remain with the author. It is natural that being one’s best poem it may have published previously at more than one place. We would mention the acknowledgment of the first publisher only. If a poem is submitted to us it would be deemed that either the poet holds necessary copyright or he has taken due permission from its first publisher.

 Availability

The anthology will be listed on various online stores and like other books of Authorspress this collection too will be made available worldwide through authorized distributors and sub-distributors. The anthology will be published in both print and electronic format.

Compensation

The contributors physically living in India irrespective of their country of origin will get a free print copy whereas those living overseas will get a free eBook which will be available with us in various forms and formats.

Circulation

We shall leave no stone unturned to reach the best contemporary poets all over the world. But if every poet, in the possession of this call for submissions, forwards to his fellow or friend poets, things will be pretty easier for us and it will be very helpful for the future health of poetry as well. Hence it is our humble request to forward this call to the emails at your disposal.

Looking forward to your submissions!

Best wishes!

 

Dr Vivekanand Jha

www.vivekanandjha.com

www.verbalart.in

www.phenomenalliterature.com

Blog: http://www.poetvjha.wordpress.com

Email id: jha.vivekanand7@gmail.com

Kult 3 Panawagan para sa mga Kontribusyon: Cultural Studies at Criticism sa Panahon ni Duterte

Ang panahon ni Duterte sa Pilipinas ay panahon ng hangal na pagbabago. Maaaring tingnan ang #ChangeIsComing nito bilang orchestrated na foreshadowing of what is to come. Yun nga lang—ang “change” ay hindi something significant tulad ng mas maalwang buhay, mas masaganang ekonomiya, mas maunlad na Pilipinas kundi ang circus sa/ng pang-araw-araw. Kaagapay ang social media at akit ng digital rush bilang senyales ng pag-unlad (salamat sa Internet, nakakasabay na tayo sa globalisasyon… at 1mb per second), sumasagwan ang rehimeng Duterte sa pamamagitan ng pagbabagong walang-sustansya (magbabago ng isip tungkol sa time frame ng pagsugpo sa droga; mag-aappoint ng mga progresibo sa Gabinete para lamang harangan ng Commission on Appointments; mumurahin si Trump ngunit yayakapin ang mga Kanong sundalo).

Heto ang lumang bugtong sa kaso ni Alice sa wonderland kung saan kailangan niyang kumilos nang napakabilis “just to stay in place.” At ano ang ibig sabihin ni Godard nang sabihin niyang “change nothing so that everything will be different;” isang paglalaro sa “some things must change so that everything remains the same” na mas apparent sa lohika ng status quo (kahit palitan mo ang nasa gobyerno… may ‘bagong’ labas na smartphone at tayo’y gutom pa rin). Sa ganitong fast-paced na pagpapalitan ng mga usapin (palitan ang huling linya ng Lupang Magiliw, nag-resign si Mocha; pinalitan ni Gloria si Alvarez, ni Panelo si Roque), ano ang mga tungkulin at paano ang moda ng kritisismo? Harapin at daanin sa tit-for-tat ang bawat usapin (mula padrino system sa bigating literary awards, bawat ‘joke’ ni Duterte, red-tagging sa mga unibersidad, pambobomba sa mga Lumad) o magtakda ng #priorities with the danger of tagging other concerns as “non-issues”? May silbi pa ba sa kritisismo at araling pang-kultura ang pamimilosopo ni Mao tungkol sa primarya at sekundaryang kontradiksyon at sa maraming aspeto ng bawat isa? Paano maikakabit ang analisis ng mga partikularidad (PepeDederalismo video, landslides sa Itogon, Benguet) sa mga mas malawak na usapin (misogyny, patriarchy, mala-pyudal na ekonomiya)? At ang kritisismo in itself—ang mga anyo, lunsaran at audience nito—paano magninilay ngayong lumalakas ang factor ng pagiging viral para makahubog ng public opinion; lantarang sinisikil ang kritikal na potensyal ng mga paaralan—redbaiting sa mga mag-aaral, kaso ng ‘contempt’ sa mga propesor, at ang dati pa namang problema ng budget cuts at mababang kalidad ng edukasyon.

Mula rito, nag-iimbita ang Ibong Adorno-Institute for Social Research ng mga maikling papel na pino-problema ang pagsasagawa ng kritisismo at araling pang-kultura sa panahon ni Duterte. Ipadala ang mga abstrak (200-300 na salita) hanggang November 30, 2018 sa IbongAdorno@yahoo.com. Inaasahan naman na maipadala ang mga buong papel (1000-2000 na salita) hanggang January 18, 2019. Matapos ang proseso ng review, editing at curation, maisasama ang mga napiling papel sa ikatlong edisyon ng Kult, ang critical journal ng Ibong Adorno, na ilalabas sa unang bahagi ng 2019.

 

*Nasa anyo ng self-published na zine, ang Kult ay ang regular na critical journal ng Ibong Adorno-Institute of Social Research. Ang Ibong Adorno-ISR ay isang grupo ng mga kritikong naglalayong i-popularize ang kritikal na teorya sa pamamagitan ng paggamit dito sa pag-unawa ng mga pang-araw-araw na pangyayari at isyu. Maliban rito, primaryang lagusan ng maiikling komentaryo at analisis ng Ibong Adorno ang social media, bahagi ng layuning maabot ang mas maraming mambabasa at makapag-foster ng mas mayayabong na diskurso tungkol sa lipunan.

Santiago, Jess

Jesus M. Santiago (aka Jess Santiago) is a freelance book designer, editor and translator. He is married to Lilia Quindoza Santiago, Ph.D., fiction writer, poet and professor of literature at the University of the Philippines.

He was musical director of Lino Brocka’s Kapit sa Patalim, Grand Prize winner at the British Film Festival in 1984. His poems and song have been published in national and international magazines, textbooks, and anthologies. Several of his songs and poems have been translated into other Philippine languages as well as into English, German, Dutch, French, Japanese, Nepalese, Tamil, Indonesians, Thai, Korean and Portuguese.

He was declared “Poet of the Year” for two consecutive years (1978, 1979) by the Institute (now Commission) of National Language. He has won the Don Carlos Palanca Memorial Awards for Literature, the Cultural Center of the Philippines Literary Contest, and the Palihang Aurelio V. Tolentino Playwriting Contest.

His book, Gitara: Poems/Mga Tula 1975-1985, came out in 1997 while his Filipino translation of Ernest Hemingway’s The Old Man and the Sea was released by Sentro ng Wikang Filipino in 2003.

In 2002 he received the “Gawad Nuno ng Tbak sa Kaliwagan” from the Tbak Foundation in recognition of his contribution through songs and poetry to the enlightenment of the Filipino people during the Martial law regime.

Santiago has just recently finished his research, “The Song as Venue for Developmental Education and People’s Advocacy in Okinawa, Chiangmai and Yogyakarta,” as a fellow of the Nippon Foundation’s Asian Public Intellectuals (API) Fellowship Program (2005-2006).

Pagbangga sa Kahon | Masterclass ni Ricky Lee tungkol sa Pagsulat ng Kwento

Inihahandog ng Politeknikong Unibersidad ng Pilipinas, Tanggapan ng Pangalawang Pangulo para sa Ugnayang Panlabas, Komiteng Pamprograma ng Lekturang Propesoryal, Sentro para sa Malikhaing Pagsulat, Sentro para sa Panitikan at Araling Pangwika at Kagawaran ng Filipinohiya ang:

Pagbangga sa Kahon | Masterclass ni Ricky Lee tungkol sa Pagsulat ng Kwento

Gaganapin sa Nobyembre 22, 2018, Huwebes, 1 n.h – 5 n.h., ICTC LAB 1, Phase 2, NALLRC, PUP Sta. Mesa, Manila.

Ito ay libre at bukas sa publiko.