Business World: Gintong Aklat Awards honors best Philippine books of 2018

Originally published by Business World Online on September 26, 2018 | 12:03 am https://www.bworldonline.com/gintong-aklat-awards-honors-best-philippine-books-of-2018/

The best in Philippine books were honored during the Gintong Aklat Awards 2018, held at the SMX Convention Center during the 39th Manila International Book Fair which ran from Sept. 12-16.

Organized by the Book Development Association of the Philippines, the Gintong Aklat Awards celebrates excellence in the Philippine book industry by giving recognition to books written, edited, illustrated, and published by Filipinos.

Sacada: A Catalog of Commodities from a Period of Glorious Tumult by Alan Navarra and published by Visprint Inc. follows an experimental form that mixes typography, sketches, poetry, and more. It won the top awards in two categories: Literature in Filipino and Best Book Design.

The anthology May Tiktik sa Bubong, May Sigbin sa Silong (Ateneo de Manila University Press), edited by Allan Derain, also won for Literature in Filipino.

Also named winners were: Aimless Walk, Faithful River/The Poet Learns to Dance, The Dancer Learns to Write a Poem (Ateneo de Manila University Press) by Simeon Dumdum Jr., and VJ Campilan’s debut novel All My Lonely Islands (Anvil Publishing, Inc.), both for Literature in English. All My Lonely Islands won the grand prize for the Novel category at the 2015 Carlos Palanca Memorial Awards for Literature and the 2017 Madrigal-Gonzalez Best First Book Award.

Winners in other categories were Bamboo Whispers, Poetry of the Mangyan (The Boomark, Inc.), edited by Lolita Fansler, Quintin Pastrana, Raena Abella, Emily Catapang, in the Arts and Humanities category; Edgie Polistico’s Philippine Food, Cooking and Dining Dictionary (Anvil Publishing, Inc.) in the Food category; Fr. Manuel Blanco’s Flora de Filipinas (Vibal Foundation, Inc.), edited by Dr. Domingo Madulid, in the Natural and Applied Science category; and Science Philippines: Essays on Science by Filipinos (Volume IV), (University of the Philippines Press), edited by Dr. Gisela Padilla-Concepcion, in the Science and Technology category.

Completing the list of winners are The World of the Manila-Acapulco Galleons: The Global and Human Context (Vibal Foundation, Inc.) by Senator Edgardo J. Angara and Dr. Carlos Madrid, in the Social Science category; and Lifeline: A Layperson’s Guide to Helping People in Crisis (Anvil Publishing, Inc.) by Queena Lee-Chua, Lourdes Joy Galvez-Tan, Melissa Garabiles, Ma. Tonirose de Guzman-Mactal, and Mary Jane Bergado-Flores, in the Inspiration and Self-Help category.

Established in 1981, The Gintong Aklat Awards is held every two years to recognize the cream of the crop in local publishing, evaluating books based on overall excellence — from quality of production, to design, to content.

PhilStar: Excessive invention as historical fiction

Krip Yuson reviews Lapu-Lapu: The Conquerer of Magellan, a 1938 novel in Cebuano by Vicente Gullas, with translation into English by Silliman author Erlinda Alburo and annotation and scholarship by Cebuano Studies Center founder Resil Mojares.

KRIPOTKIN – Alfred A. Yuson
Originally published by the (The Philippine Star) on July 23, 2018 – 12:00am
Link to the story here.

Launched early in May was Lapulapu: The Conqueror of Magellan, a novel by Vicente Gullas, translated from Cebuano by Erlinda K. Alburo, with a critical introduction by Resil B. Mojares, and published by University of San Carlos Press.

Gullas wrote the novel in 1938. While entertaining (in an antic manner), it’s a rather strange fictional biography that merges moralistic teachings with a near-mythic tale of Lapulapu’s growth as a young boy of athletic prowess and dauntless courage.

The embroidered history has a young Portuguese creole, Pedro Pellecer, coming to Mactan from Mindanao, bringing along a caged lion and gorilla, whose beastly powers are often tested by Lapulapu. Pedro also proselytizes (a quarter of a century ahead of Magellan) and manages to have the young “Lapu” and his older sister Mingming “acknowledge the Bathala of the Christians.”

At one point Mingming is said to be 16 while Lapu is nine. Pages later, she is eight while he’s four. The Mactanons entertain themselvs with contests of physical strength, often involving men versus animals. Apes and wild carabaos are thrown into the fray. Sharks and crocodiles inhabit the sea together, while a kangaroo metaphor finds surprising application. Among the place names are Santa Rosa and San Nicolas, years before Magellan’s ships arrive.

When they finally do, in Chapter 20 (out of 28), Magellan plays no more than a cameo role. He discovers that the Pedro who had preceded him was an uncle. Planning a pre-emptive attack on rival Cebu chieftain Humabon, Lapulapu tells a follower: “We shall depart tonight at 10:30.” It’s not supposed to be funny (or to make us wonder if it were an Apple Watch the hero consulted).

For all his prowess as a warrior, and his earlier challenge to go mano-a-mano, it’s not Lapulapu who finally engages Magellan in mortal combat.

“But the leader of Mactan did not know that, like him, the Spanish navigator had the heart of a lion, the quickness of a tiger, and the courage of a true hero. The first native to face Magellan almost lost his head; the second had an ear and an arm cut off; and the third fell as soon as the Spaniard’s weapon pierced his chest. But a merciless arrow hit the unprotected thigh of Magellan. … When he turned around and saw that all his companions were already safe in the boats, he straightened and fought until the end. But no one in the world can endure being ganged up on by three men such as Dosdos, Bitadlok and Bali Alho. Magellan fell, like a true hero, without tasting cowardice. In this fight, the world lost its most famous explorer, and the leader, the light and companion of those first Spaniards that spread the faith and ideals of Christ in the East.”

As for Lapulapu, he rejects Humabon’s offer of ransom for Magellan’s body, and convinces him instead to finish off the foreigners at a banquet in their honor. The Spanish ships depart. Lapulapu and his men invade Cebu to punish Humabon’s ally Zula, before he gets to marry off his son Sawili to Humabon’s daughter Nimfa, thus uniting the people of Mactan and Cebu.

The Annotations section mentions that Gullas acknowledges certain textbooks of Philippine history as his sources, as well as conversations with fellow Cebuanos that presumably provided snippets of oral history. Also acknowledged is “the novel Slaves of Love, or Princess Nida (1934) by Vicente Salumbides, a prewar Filipino filmmaker (who learned his craft in Hollywood), considered the progenitor of the ‘Hollywoodization’ of Philippine movies. Salumbides may have influenced how Gullas composed his book less as a novel than a scene-by-scene movie scenario filled with episodes of sentimental love and physical combat.”

My reading habits often have me hopscotching through a volume, so it wasn’t before I experienced the flavor of the novel that I got back to the part of Mojares’ introduction where he writes on Gullas — and says that the novel “was written for the purpose of values formation through the medium of a quasi-historical, literary entertainment.”

Further: “As a novel, Lapulapu has few literary merits. Its plot is loose, repetitive, and episodic (in the manner of popular, serial ficton at the time)… Transposing early twentieth-century realities to sixteenth-century Cebu, the novel is filled with anachronisms, incongruities, and contradicions. Freely drawing from history and oral lore, Lapulapu is an excessively fictional invention.”

Mojares presents a thorough review of a myriad of accounts, from primary and secondary documents to modern historians to oral history (a “scattered, fragmented tradition” in lieu of “a native tradition of literacy”). Surviving oral lore is mostly legend, inclusive of “subordinate chiefs similarly gifted with extraordinary powers,” amulets, magical pestles as weapons, and curses that turn rivals into stone, etc.

“… (W)hat we have in the Mangan/Lapulapu stories is a case where a ‘hero of history’ (the historical Lapulapu) is transmuted into the ‘hero of tradition’ (the mythical Lapulapu)…” Then there are “Popular histories (that) freely combine oral history, folklore, fiction, and modern historiography, often without distinguishing among these modes of representing the past.”

“Nationalist myth-making” also resurrected Lapulapu.

“No Filipino hero has been the subject of as much fantasy and error as Lapulapu. Such is the process by which Lapulapu has joined the pantheon of national heroes.”

Once again, we are thankful to Mojares for the breadth and depth of his scholarship, its characteristic acuity and clarity of writing.

By the by, on July 30-31, to be held at Novotel Hotel in Araneta Center is “Bridging Worlds, Illumining the Archive: An International Conference in Honor of Professor Resil B. Mojares.” It’s organized by Philippine Studies: Historical and Ethnographic Viewpoints; School of Social Sciences, Loyola Schools, Ateneo de Manila University; and Southeast Asian Studies Center for Southeast Asian Studies, Kyoto University.

Manila Times: Luningning Bonifacio-Ira, 90

A tribute to fictionist Luningning Bonifacio-Ira.

Bonifacio-Ira, whose short story “Tell Me Who Cleft the Devil’s Foot” was named by highly regarded writer and critic Isagani R. Cruz as among the Philippines’ best in the last century, died on July 5. She was 90.

Bonifacio-Ira is the latest Filipino creative writer who died in the last two months, after National Artist for Literature Cirilo F. Bautista on May 6, Palanca Hall of Fame inductee Edgardo B. Maranan on May 8, essayist Ligaya Tiamson-Rubin on May 18, and poet Rogelio G. Mangahas on July 4.

Read the full story. Click here.

Esquire: The Original Senator Vicente Sotto Was a Fighter for Press Freedom

Vicente Yap Sotto, the grandfather of the present-day Sen. Vicente “Tito” Sotto III, is also considered as the Father of Modern Cebuano Literature.

Over his lifetime, he had produced a voluminous body of literature, including Filipino Stories; Mga Handumanan sa Sugbu; Mga Sugilanong Pilipinhon; Spanish-Visayan Dictionary; Abakadhan; Municipal Code and Amendments; Remembrances of Cebu: Our Dialect; Far From My Country, a collection of writings published in different papers during his period of exile; Maktang, the first Visayan operetta; and A Flying Trip Around the World, with introduction by Rafael Palma.

Read the full story of Esquire. Click here. :

The 35th National Children’s Book Day

Children of all ages are invited to the celebration of the 35th National Children’s Book Day (NCBD) on July 17, 2018 (Tuesday) at the Main Theater Lobby of the Cultural Center of the Philippines from 9:00am to 5:00pm with the theme Sa Aklat May Laya.

Held every 3rd Tuesday of July, the NCBD highlights the best works of children’s book writers, illustrators, and publishers, and celebrates the importance of nurturing the young readers’ curiosity and imagination.

The event’s morning program consists of the awarding ceremonies for the 2018 PBBY (Philippine Board on Books for Young People)-Salanga Prize, 2018 PBBY-Alcala Prize, 2018 PBBY Wordless Book Prize, and the 2018 National Children’s Book Awards.

Towards the end of the morning, the PBBY Sa Aklat, May Laya Exhibit will be launched as well, featuring artworks related to the PBBY-Alcala Prize. This is derived from the children’s stories that won the PBBY-Salanga Prize, Becky Bravo’s work entitled “May Alaga Akong Bakulaw.” The exhibit is free and open from July 17 to 22, 2018 at the CCP Little Theater Lobby.

At 1:30 pm, My CCP Tour activity will commence at Little Theater Lobby led by the CCP Arts Education Department. This will be followed by free sessions on storytelling, arts and crafts and music and movement prepared by the Pinoy Kids Read Pinoy Books group for children at the Main Theater Lobby at 3:00 pm.

The CCP event is free and open to the public. For pre-registration and details, contact Ms. Kim Lim at 551-5959, ccpintertextualdivision@gmail.com or 0919-3175708.

As the second part of the NCBD celebration, the PBBY stages Salaysayan 2018, the 2nd Storytelling Festival at Museo Pambata with emphasis on Read Aloud as a strategy to bring to life books and the written word.  The Salaysayan will run from 1:00pm-4:00pm. Registration fee is Php250. Contact the PBBY Sectoral Representative for Librarians at zarah815@gmail.com.

On July 21, the PBBY, together with Kasingkasing Press and Hubon Manunulat, brings the NCBD to Iloilo through workshops on book design and illustration to be held at Cinematheque Centre Iloilo, and a series of talks on children’s literature at the UP Visayas. Registration fee for the talks and workshops is Php500. For details, email at ncbdph@gmail.com or visit the PBBY Facebook page.

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