May 30, 2014
Still in Manila area.
Most my co-fellows are still having withdrawal symptoms from the recently concluded 53rd Silliman National Writers Workshop. I will soon write an article about the experience. Right now, it’s time to chill out.
We did come up with a batch project, an anthology of some sort. We call it “Interstices,” the word of the batch isolated from Arkay Timonera’s poem.The folio is downloadable.
April 8, 2014
At the present age, Filipinos would usually seek to involve themselves in more lucrative preoccupations. It is a need. Not all of us are privileged to just travel, enjoy the scenes, watch sunsets. Not all of us are given the time to reflect around us and create. Yes, all of us are battered by unwanted stimuli everyday but not all of us can create something out of it—at least in one of the accepted art forms. Many would start at an early age but would abandon the habit altogether. Perhaps after seeing that there’s no place for it in the current sphere. They just forget and go through life as it is.
The poor would say: “You can’t eat art nor can it bring food on the table.” How can you read or write when your stomach is eating you? How can you look at art when you can’t even get inside a museum or gallery for want of proper attire?
There’s also familial pressure: “Fine Arts is a course for rich people!” or “You will gain nothing from your pen, enter maritime or nursing school instead!”
You hear this all the time. And the government, alas! The government, despite Constitutional mandate to promote culture and the arts, seems to treat it as second thought. The CHED has not mandated that national fellowships or literary prizes be commensurate to an MA or at least MA units. For some measure, writing or reading is taught by example (as National Artist Edith Tiempo used to say), and writers are voracious readers—and writers. For this reason alone, they ought to be the one teaching literature subjects. Passion for literature is a contagious malady. If you don’t have it, you can’t inoculate it.
Admit it or not, there are only two factors that serve as impetus for literary culture: 1. An inquisitive mind, and however sophomoric it may sound, 2. Peer pressure. Why is it that I did not say “an inquisitive literate mind”? This is because literary culture is primordially performance-based. For instance, poetry is drama, is theater—is performance. We all have this in us—an inquisitive mind, only that in an effort to civilize us, society trained us not to “stare” too much or “ask to many questions.” It is however inherent, if not native to us, to be curious, to observe, to read. The world is a text and is something to be read. And this culture of reading and observing is better shaped by peer pressure.
Hence it is nothing new for us to hear about the Beat Poets or the Nuyorican Poets in the US during the 40’s and 60’s, or The Ravens and the Veronicans in the Philippines during WWII or just right after. The literary flame is somewhat kept alive by these groups. They influence people to write, and they likewise encourage people to read. Ironically, their passion could even lead to a book burning incident as in the case of the Balagtasistas and the Modernistas during the 60s. The result of the Talaang Ginto being dominated by the Balagtasistas so much infuriated the younger generation of Tagalog writers that they ended up tossing to the fire not only their plaques from said contest but also books by the old vanguards or “matatandang tanod.” Not to mention that earlier, the parties almost ended up in a knife fight in some nearby beerhouse. The book burning infront of the National Library proved to be a more peaceful way of expressing literary disgust during those times.
Yet there could also be factions. We all are familiar with this story: Poet starts a writers group, but later, ideologies come in the way, forcing him to leave and start anew—with a new group. Yes, it is true that the practice of literary arts is a political act. The choice of what language to use is a political choice. Poetics in fact, much as it could get so technical, is still a political animal as culture is always politics.
But my take on the matter is this—the same is a political question and not a justiciable or scientific one. It lies on prerogative, on personal freedom of choice. And nobody can tamper with that and no one would want that theirs be tampered with. More so that of artists and creatives.
It is safe to say that these writing groups, no matter how we argue that one does not need a group to be able to write, kept literary culture alive within and without the academe. Heck, it even caused career shifts for some. It is not uncommon for a pre-med student to end up shifting to a creative writing or literature course after being “brainwashed” by a group of poets wont on doing guerilla tactics on campus—starting up poetry readings just about anywhere and anytime, and then disappearing just as fast as they assembled.
And so we have groups like UP Quill, UP Writers Club, Heights, Malate, Thomasian Writers Guild and FEU Writers Guild to name a few. Outside of the campus, we have KM64, Kamakathaan, Guniguni and so many more. And with the advent of social media, they are now manifold—poetry slam groups, Facebook poetry, haiku poets, you name them, you got them.
And in the provinces, these groups also continue to thrive. Just in the Bicol Region, we have Kabulig-Bikol, ABKAT and Parasurat-Bikolnon. These groups are active within and without the academe. And just lately, we hear of campus-based group Ateneo Literary Association (ALA) doing small poetry workshops and readings here and there. Their presence could very well have caused some career shifts as mentioned earlier, but they push on.
This month of April, where summer heat is just as fiery as the creative writing workshop season, ALA is holding the very first TALA Poetry Workshop. To be held on April 11-12, the workshop will utilize the so-called “writeshop method” or “praxis method” where theory is followed by practice. Lecturers will give inputs on poetic forms, voice and tone, and metaphor, and then the writing fellows, true to their name, will write. They will write according to the lesson of the day. Later, their output will be critiqued, placed under astringent scrutiny by the panelists and the fellows themselves. The workshop will be held at the Ateneo de Naga University, at the 3rd floor of the Fr. O’Brien Library (Multipurpose Room).
With Jusan Misolas as workshop director, this writer has been invited as one of the lecturer-panelists this year, along with Frank Peñones, Jerome Hipolito and Jeff Regullano. And this year’s fellows are: Joy San Jose Agor, Anthony Diaz, Ken Brian Esperanza, John Leir Castro, Rea Robles, Elmer Guarin Ramos, Shellah Farina Chan, Stephen Prestado, Ma. Leonora Cervas-Bregala, Cherry Ann Largo, Jeffrey Almazan and Love Leir Arcelie Castro.
April 7, 2014
Pertinent to my application for a travel grant with the Harong kan Literaturang Bikolnon (Naga City-LGU) as per my Dumaguete fellowship (for poetry), I was asked to prepare a letter showing the benefits that the Nagueno would get from my travel. In this regard, I started to look into myself. What have I done for my people? Am I just a writer for myself? An ego writer who has self- aggrandizement as primordial motivation? I had to ask myself these questions and introspect.
Looking back–I do remember that 2003 was my homing year. It was the year that I started to feel like going home. I was determined to further my academic life in this locality, find work here and perhaps start a family–and of course, practice literary arts here. I wanted to start a writing group, a critique group to be exact. At that time, I was already a LIRA member and had attended the Ateneo and UST National Writers Workshops. I wanted to look back though, to dream the dreams of my youth. I thought that Bicol itself is already a rich material. I can make it here, and in Manila, and in the world literary arena as well. No need to locate myself in the Center.
But before taking any more steps, I figured if there was already an existing writing group here in Bicol. And there was. The late Rudy Alano was then the ring leader for Kabulig-Bikol. I joined them.
But Kabulig-Bikol was taking too much time. I wanted the group to have more fire.
I continued to associate with them through. Writing is a lonely vocation, and they were good beer buddies. But I persisted in attending national workshops, sending my works to publications and joining some contests. Technically, I was on my own. But I found real good company in Tomas Navarro, a fellow Atenean who was as good as a strategist as a prose writer. I also loved the company of the ABKAT people from Tabaco, Albay for they were so project oriented. They could get things done.
But deep inside, what I really wanted was to do research on Bikol poetics and write a book about it. I also wanted to share my poetics to young Bikol writers. Hence I organized the Tarusan Bloc and I gave free lectures and workshops. Thanks to my teachers Rio Alma, Cirilo Bautista, Ricardo Lee, Marjorie Evasco, and Cyril Conde, I had a firm ground when it comes to comparative literature. And so I did my thing–monthly poetry critique sessions.
But it wasn’t enough for me. Bikol poetics dictates that poetry is drama–is theater, is performance! I wanted to go out and make Naga City a city of literature by organizing poetry gigs from time to time. Said gigs would be open to the public, and for the benefit of the public. Poetry in public places–this was my battle cry and it still is.
Now I realized that I have published three articles regarding these gigs. Let me post their pictures here.
This appears in the August 1, 2012 issue of The Daily Tribune. And it is about the Writers Gig and VerSosimo projects. Now I was not able to take a photo of my article “Not Your Usual Writers Trip” which was also published in the same newspaper on January 3, 2013. But as you all know, I took a picture and posted my article ” Come as You Are: Naga City’s Poetry Reading Culture” which appeared in the April 7, 2014 issue of the Philippines Graphic.
Well, man. If you want to be a writer for others. Organize occasional poetry gigs in your locality. Do it for the people. They deserve more than what popular culture offers them.
April 7, 2014
I was invited by the Ateneo Literary Association for their first Tala Poetry Workshop, a campus based workshop. It will be held at Ateneo de Naga University on Friday. The workshop approach is the so-called “writeshop,” and the methodology is: 1. Lecture, 2. Writing activity, and 3. Critiquing. My topic is poetic form, actually, one of the toughest. I will make it as simple as possible. I also plan to assign a simple poetic form during the writing activity. There will also be poetry readings and other intermission numbers. The group even invited my band The Super Poet Genome Project. We will figure.
The deadline for fellowship application is today, April 7. If you are an Atenista, a Bicolano Atenista who is somehow connected or was connected to AdNU, and you are serious in pursuing a career in creative writing, give this a try. It is wise to attend regional workshops first before applying for national ones. And read my book too, “Pagsasatubuanan: Poetikang Bikolnon” (NCCA, 2008). Copies are running out!
April 3, 2014
A few weeks ago, we had a Cirilo Bautista tribute as part of the Naga City Public Poetry Project. Only a few was able to attend as readers. There were only five of us there. But still, we pushed through. Afterwards, we had a meeting. You see, we are planning to apply for grants. I made a video of the event and started sending the YouTube link to FB friends. I wanted to involve as many people as possible, even those who failed to attend. The result was amazing. People did show interest and watched the video. Joel Pablo Salud, the editor-in-chief of Philippines Graphic even wanted me to write an article on the poetry gigs that I have been organizing in Naga City. So I did. And now the article is out, printed in Page 36-37 of the April 7, 2014 issue of said magazine. Please do buy (and grab) a copy at your nearest news stands, National Bookstore and 711 outlets. Here’s the picture of the pages. Nice lay-out!
The next session is going to happen on April 25, 2014, again at the Raul Roco Public Library. I hope we could replicate the WG/VerSosimo/Bikol Slam projects as per attendance. Summer, summer, poems of summer. More updates coming!
April 2, 2014
In 2012, something great happened in the literary landscape of Naga City, the Bikol Poetry Slam. Watch the complete video here.
March 8, 2014
The Raul Roco Library will host a monthly poetry event dubbed as Naga City Library Public Poetry Project (NCLPPP) which will feature lectures, poetry readings, performances and books, among others. Main organizers include Naga-based writer Jose Jason L. Chancoco, AdNU-POEM moderator Elsie Albis and City Librarian Riko Vinluan. The first installment, a lecture by Chancoco on Bikol poetics, was held on February 28, just in time for the closing of the National Arts Month.
Chancoco, a known organizer of literary events in the city, is the person behind the WG and VerSosimo. Said poetry projects were held monthly at the now defunct Wharf Galley Rock Café until it moved to Sosimo Bar. The Public Poetry Project will have almost the same format as the previous poetry gigs, featuring multimedia and performance poetry, but this time there is a lecture-workshop element.
For the month of March, the NCLPPP will be a Cirilo F. Bautista Tribute. Poems by the incoming National Artist for Literature will be read on March 14 at 4-6pm. An open-mic segment will also follow. Interested parties may contact the organizers at hagbayon(at)gmail(dot)com.
March 7, 2014
March 7, 2014
Mr. Good News came by last Wednesday. I got a slot as English poetry fellow for the Dumaguete National Writers Workshop this year! Earlier, I responded to their call for manuscripts which went this way:
Call for Manuscripts to the 53rd Silliman National Writers Workshop
The Silliman University National Writers Workshop is now accepting applications for the 53rd National Writers Workshop to be held 5—23 May 2014 at the Silliman University Rose Lamb Sobrepeña Writers Village.
This Writers Workshop is offering twelve fellowships to promising writers in the Philippines who want to have a chance to hone their craft and refine their style. Fellows will be provided housing, a modest stipend, and a subsidy to partially defray costs of their transportation.
To be considered, applicants should submit manuscripts in English on or before 15 January 2014. All manuscripts should comply with the instructions stated below. (Failure to do so will automatically eliminate their entries).
Applicants for Fiction and Creative Nonfiction fellowships should submit three to four (3-4) entries. Applicants for Poetry fellowships should submit a suite of seven to ten (7-10) poems. Applicants for Drama fellowships should submit at least one (1) One-Act Play.
Each fiction, creative nonfiction, or drama manuscript should not be more than 30 pages, double spaced. We encourage you to stay well below the 30 pages.
Manuscripts should be submitted in five (5) hard copies. They should be computerized in MS Word, double-spaced, on 8.5 x 11 inches bond paper, with approximately one-inch margin on all sides. The page number must be typed consecutively (e.g., 1 of 30, 2 of 30, and so on) at the center of the bottom margin of each page. The font should be Book Antiqua or Palatino, and the font size should be 13.
The applicant’s real name and address must appear only in the official application form and the certification of originality of works, and must not appear on the manuscripts.
Manuscripts should be accompanied by the official application form, a notarized certification of originality of works, and at least one letter of recommendation from a literature professor or an established writer. All requirements must be complete at the time of submission.
Send all applications or requests for information to Department of English and Literature, attention Prof. Ian Rosales Casocot, Workshop Coordinator, 1/F Katipunan Hall, Silliman University, 6200 Dumaguete City. For inquiries, email us at email@example.com or call 035-422-6002 loc. 350.
There. It’s been years since I applied for a national workshop, the last being the Iligan National Writers Workshop in 2005. And so I gathered my material and ended up sending poems in English. Now the result:
53rd Silliman University National Writers Workshop Slated for May 5—23
The 53rd edition of the Silliman University National Writers Workshop is slated to start on 5 May 2014 at the Rose Lamb Sobrepeña Writers Village in Camp Look-out, Valencia, Negros Oriental.
Twelve writers from all over the Philippines have been accepted as workshop fellows. They are Jose Jason Chancoco (Ateneo de Naga), Daniel Hao Chua Olivan Jr. (Ateneo de Manila), Maria Camille Rivera (UP Diliman), and Roberto Klemente Timonera (Silliman University) for poetry; Jovy Almero (UP Diliman), Prescilla Dorado (UP Mindanao), Jose Renato Evangelista (DLSU Manila), Rolly Jude Ortega (Silliman University), and Erlinda Mae Young (UP Diliman) for fiction; and Johanna Michelle Barot Lim (University of San Carlos), Jan Kevin Rivera (UP Diliman), and Gracielle Deanne Tubera (Ateneo de Davao) for creative nonfiction.
The panel of writers/critics for this year includes Director-in-Residence Susan S. Lara; Dumaguete-based writer César Ruìz Aquino; and guest panelists Gémino H. Abad, Dean Francis Alfar, Merlie Alunan, Ricardo de Ungria, Marjorie Evasco, Grace Monte de Ramos, Cristina Pantoja-Hidalgo, DM Reyes, John Jack Wigley, Alfred Yuson. They will be joined by two foreign panelists whose names will be announced later.
The workshop, which traditionally lasts for three weeks, is the oldest creative writing workshop of its kind in Asia. It was founded in 1962 by S.E.A. Write Awardee Edilberto K. Tiempo and National Artist Edith L. Tiempo, and was recently given the Tanging Parangal in the Gawad CCP Para sa Sining by the Cultural Center of the Philippines.
This year, the workshop is co-sponsored by the National Commission for Culture and the Arts and the United Board for Christian Higher Education in Asia.
For more information about forthcoming events during the workshop, please email Workshop Coordinator Ian Rosales Casocot at firstname.lastname@example.org or call the Department of English and Literature at (035) 422-6002 loc. 520. (Edilberto and Edith Tiempo Creative Writing Center)
There. I am excited to travel again and meet new people. Dumaguete, Hagbayon is on the way!
January 16, 2014
Carl Jung’s Theory on Collective Unconsciousness and formation of archetypes, ‘natural attitudes’ (in phenomenology) or in layman’s term, ‘notion’ of things concrete or abstract, living or non-living, presents itself as a ‘nativist’ theory. He says Collective Unconsciousness is a theoretical pool of memories or reservoir of experiences that we are born with as species but we are not directly conscious of it.
However, I think by mention of ‘experiences’ his theory then leans on its ‘cognitivist’ side. Because even if we are born with what I will call (in Chomsky’s mold) as AAD or ‘archetype acquisition device’ there is still a need for meaningful human experiences for one’s consciousness to flow into the sphere of Collective Unconsciousness.
Cross-cultural analysis of myths, epics and legends will reveal evidences of these archetypes. But I think the great Carl Jung should have read an unusual archetype in Oryol, a cunning and deceptive nymph from the Ibalong epic fragment. She knew how to project naïveté only to lure unsuspecting macho guys like Handyong. And the latter would end up in a compromise partnership with her in fighting unattractive and devilish monsters (and crocodiles) in Bicolandia.
It appears that these common notions articulate themselves not only in ancient oral traditions but also in other artistic pursuits and preoccupations. They are so much into our lives that they even influence our judgment and some of our decisions. However, I should say that Jung’s theory is also structuralist in orientation. It tends to linearize human notions oblivious of cultural boundaries. But this is not to say that his attempt is failing, but rather perhaps it needs some culturally determined extensions. For example in Bicol, we have the archetype and embodiment of machismo in the persona of Kulakog, a mythical creature with a huge penis. Archetypal formation then is really a culturally bounded phenomenon.
In the poem “Not My Best Side (Uccello: S. George and the Dragon, the National Gallery)” by English poetess U. A. Fanthorpe, we see the seeping in of three main archetypes; the Monster or Dragon, the Maiden and the Hero or the Knight, into an artistic pursuit other than literature, in this case, the visual arts. However the archetypal articulation by Italian painter Paolo Uccelo in his St. George and the Dragon is interrogated by Fanthorpe’s poetic discourse resulting to a deconstruction.
The poem is divided into three parts according to voice. The first part has the monster or the Dragon talking to the reader. The second part has the Maiden talking to the reader. And the last part has the hero or the Knight talking to the Dragon.
The approach of the poet is neither narration, imagism nor lyricism but rather expository, or in Filipino, ‘tulang patanghal’. In this case, the line-cascade and poetic utterance is pre-determined according to the persona and are conveniently subdivided into three parts. The main merits of the poem are in its consistency in voice, tone, language and form in effecting a deconstruction. Throughout the text the voice, tone and language of the poem will interrogate the archetypal articulation of the painting by being the poetic discourse themselves unaided by imagistic/metaphorical manipulations and acrobatics but supported by phenomenological methodology.
What if we remove all our ‘natural attitudes’ on archetypal figures and re-examine the roots of this notion in order to come back to the essence of things. After much introspection, how can we apply them to current human preoccupations?
As a product of the interrogative pattern of the poetic discourse we come to know a monster that has the attitude of an image model. It says: “The artist didn’t give me a chance to pose well properly.” It is also concerned, like a movie-star or politician, with bad publicity. It says: “But afterwards, I was sorry for the bad publicity.” It also comments and interrogates the human archetype of a prim and proper, well-groomed hero when it says: “Why, I said to myself, should my conqueror/ Be so ostentatiously beardless..?” It also reacts on the artist’s perspective: “Why should my victim be so/ Unattractive as to be inedible”. Here the monster ceases to be the manifestation of human primal fear, but the poet fills it up with very human actuations and impressions.
In the second part, we are confronted with a highly hormonal and calculating maiden concerned both with pleasure and financial security. She is very much a delineation from our notion of a damsel in distress. She says of the Dragon: “He was/ So nicely physical, with his claws/ And lovely green skin, and that sexy tail, / And the way he looked at me, / He made me feel he was all ready to/ Eat me.”
In deconstruction, previously established definitions take on a different meaning, and ‘To eat me’ has come to articulate female prerogative. It also humanizes the maiden, expressing her repressed preferences (personal unconsciousness): form follows function, effect and performance is superior to propriety. And of course the future has to be secured first and indulgence in provisional pleasure should be momentary: “what could I do? / The dragon got himself beaten by the boy, / And a girl’s got to think of her future.” Yet she comments on the insecurity of those who live by the books, follow the rules and hide behind the armor of the system. She says of the Knight: “So when this boy turned up, wearing machinery, / On a really dangerous horse, to be honest/ I didn’t much fancy him. I mean, / What was he like underneath the hardware? / He might have acne, blackheads or even/ Bad breath for all I could tell, but the dragon–/ Well, you could see all his equipment/ At a
In the third part, we hear the Knight (St. George) and we gather some things about knighthood and the hero job: “I have diplomas in Dragon/ Management and Virgin Reclamation.” Being a knight was partly legalese and determined by familial and financial origins. It was part of the political system and therefore a machinery of political discourse or repressive state apparatus. And of course it was often used in warfare and political subjugation: “My spear is custom-built,/ And my prototype armour/ Still on the secret list. You can’t/ Do better than me at the moment. / I’m qualified and equipped to the/ Eyebrow. So why be difficult?”
More importantly, it was also a trade: “Don’t you realize that, by being choosy, / You are endangering job prospects/ In the spear- and horse-building industries?” The Knight is the coercive structural force and the Dragon, the liberal rogue. The former is the brute and the latter, the lover. Together they form the thesis and anti-thesis, and in war there is no synthesis but profit.
(This article also appears at Global Press.Org)