Sunday, August 14, 2011

Guide Questions for Ballet Philippines Encantada


Work in pairs (preferably a boy and girl)so that both sides of the gender divide will be represented.

Your reaction must be computer-printed on short bond paper using 12-point font (Times New Roman) with 1 and 1/2 spacing for better readability.

The more profound and well thought out your answers to the questions, the better the score.

Answer each of the following in two to three paragraphs.

1. In what sense does the oppression of women (including sexual oppression, i.e. rape)related to the destruction of the environment? Use a feminist ecocritical framework.

2. How are men (priests and soldiers)and women (the diwata, the babaylan and the other kababaihan) portrayed in Ballet Philippines' Neo-Filipino modern ballet Encantada? Reread the essays of Susan Sontag ("Dancer and the Dance"), Myra Beltran ("The Dance Artist as Babaylan" and Grace Nono Aves ("An Artist Reflection on the Babaylan")to acquire a more informed perspective.

3. Can you classify the performance as Apollonian or Dionysian, or a combination of both? Defend your answer. Read Camille Paglia's thorough discussion of the two concept in her essay "Pagan Beauty" which is included in the Siningcuent(r)o reader.

for 3POL2 August 22, 2011
for 3ASN2 August 26, 2011

Saturday, June 4, 2011

PETA's "Care Divas" Additional Show Dates

PETA's Care Divas's return engagement for the months of June and July at the PETA Theater Center, Quezon City:

June 10, 8pm; June 11, 3/8pm; June 12, 3/8 pm; June 17, 3/8pm; June 18, 3/8pm; June 19, 3/8pm. July 9, 3/8pm; July 10, 3/8pm; July 15, 8pm; July 16, 3/8pm; July 17, 3/8pm; July 22, 8pm; July 23, 3/8pm; July 24, 3/8pm. Shows dates are subject to change. Call 0917-5642433 for tickets.

JEN Archives

The UST Varsitarian - J. Elizalde Navarro National Workshop on Arts Criticism Fellows and Panelists thus far...

Walter Ang, Geronimo Cristobal, Jr., Gregg Lloren, Katrina Macapagal, Maricris D. Martin, Katrina Stuart Santiago, Francis Sollano, Christian Tablazon, Sir Anril Pineda Tiatco and Randel Cabanilla Urbano.

Panelists/Lecturers: Oscar V. Campomanes, Gary Devilles, Ralph Semino Galán, Antonio C. Hila, Priscelina Patajo-Legasto, Ferdinand M. Lopez, Delfin Tolentino, Jr., Eric B. Zerrudo and Joselito V. Zulueta.

Aidel Paul G. Belamide, Mary Jessel B. Duque, Anne Christine Ensomo, Luis Miguel Ereneta, Alona Guevarra, Joanna Parungao, Alvin Ringgo C. Reyes, Scott Saboy, Karren Seña, Jaymee Siao, Grace Subido and Frank Lloyd B. Tiongson.

Panelists/Lecturers: Oscar V. Campomanes, Gary Devilles, Ralph Semino Galán, Ferdinand M. Lopez, Delfin Tolentino, Jr., John Jack Wigley and Joselito V. Zulueta.

Ma. Ailil Alvarez, Patrick Campos, Richard Karl Deang, Gino Francis S. Dizon, Mark Preston Lopez, Dawn Marie Nicole Marfil, Maxsim Moossavinassab, Miel Kristinan Ondevilla,Timothy F. Ong, Elka Krystle R. Requinta, Jaime Oscar M. Salazar, Ruth Molitas Tindaan and Jose Eos R. Trinidad.

Panelists/Lecturers: Myra Beltran, Jocelyn Calubayan, Oscar V. Campomanes, Gary Devilles, Ralph Semino Galán, Priscelina Patajo-Legasto, Ferdinand M. Lopez Delan Lopez Robillos, Delfin Tolentino, Jr., Rolando B. Tolentino and Joselito V. Zulueta.

(Hope my memory serves me right... If I failed to include a fellow and/or panelist for a particular year, please inform me immediately so that I can rectify the mistake...)

Wednesday, April 20, 2011


The Mindanao Creative Writers Group, Inc., and the Mindanao State University-Iligan Institute of Technology’s Office of the Vice Chancellor for Research and Extension (OVCRE) are accepting applications from writers to the 18th Iligan National Writers Workshop (INWW) to be held on May 23-27, 2011 in Iligan City.

Panelists this year are Erlinda Kintanar Alburo, Leoncio P. Deriada, Merlie M. Alunan, German V. Gervacio, Steven Patrick C. Fernandez, Antonio R. Enriquez, Ralph Semino Galan, Christine Godinez-Ortega and this year’s keynote speaker, Pearlsha B. Abubakar, 9th INWW Fellow (2002).

Fifteen (15) slots, five each from Luzon, Visayas and Mindanao and one (1) slot each for the Manuel T. Buenafe Writing Fellowship (MTBWF) and the Ricardo Jorge S. Caluen Bursary for Creative Writing or a total of 17 slots are available for writing fellowships to the 18th INWW.

Applicants are required to submit five poems, or, one short story, excerpt of a novel, or, a one-act play in Filipino, English or in Sebuano, Hiligaynon, Kinaray-a, Waray, Chabacano (with English or Filipino translations) along with the applicant’s biodata, two 2X2 photos and a certification that his/her work is original. For short stories, excerpts of novels or plays, please submit a hard copy and a CD with the manuscripts encoded in MS Word. Those submitting excerpts of novels or works on progress — please provide a one page summary of the novel. Unpublished works are preferred and applicants who have attended regional workshops are given priority.

Writing fellows will be given free board and lodging and a travel allowance. Applications must be postmarked on or before March 25, 2011. No applications or manuscripts will be accepted if sent by fax or e-mail. Applicants are also advised to keep copies of their manuscripts since these will not be returned. Announcements of this year’s writing fellows are released during the third week of April 2011.

Applicants to this year’s workshop may download application and other forms at

Send all applications to the 18th INWW Director c/o OVCRE, MSU-IIT, Iligan City. For more information call Pat Cruz, Leda Gonzales or Ofelia Taneo at telefax (063) 2232343; or e-mail:

Tuesday, April 19, 2011

UST Holds 3rd National Criticism Workshop

UST Holds 3rd National Criticism Workshop

The University of Santo Tomas is now accepting applications to the 2011 UST J. Elizalde Navarro National Workshop in Criticism on the Arts and Humanities to be held in Baguio City on the last week of May 29 to June 4, 2011.

The workshop is endowed and organized by the Varsitarian, the 83-year-old official student publication of UST. It is held in honor of the late Nationalist Artist for the Visual Arts and art critic J. Elizalde Navarro, who was art editor and critic-poet of the Varsitarian during his student days, and in connection with the Quadricentennial Celebration of UST which was established in 1611.

Fellowships will be given to 12 promising young critics who would like to enhance their analytical, research and writing skills.

To be considered for the fellowship, applicants should submit a scholarly, properly documented critical essay (10-15 pages, double-spaced, 12-point font) on the following art forms (painting, sculpture, architecture, dance, drama, music, film or photography) on or before April 30, 2011.

Manuscripts should be submitted in hard copy and on CD, preferably in MS Word, together with an updated resumé, a recommendation letter from an academic mentor or an art critic, a certification that the works are original, and two 2X2 ID pictures.

Address all applications to Assoc. Prof. Ferdinand M. Lopez and Asst. Prof. Ralph Semino Galán, Workshop Conveners, Faculty of Arts and Letters, University of Santo Tomas, España Street, Sampaloc , Manila. E-mail for further inquiries.

An Invitation to Literature Teachers and Professors in the Visayas

An Invitation to Literature Teachers and Professors in the Visayas

Dear Sir/Madam:

Warm greetings from the Philippine PEN Board of Directors!

The Philippine Center of International PEN (Poets, Playwrights, Essayists, Novelists) is conducting a series of teaching literature workshops in selected regions of the Philippines this year. Called “For Love of the Word: Workshops on Teaching Philippine Literature in High School and College,” this project is geared toward retooling and upgrading the skills of literature teachers in both secondary and tertiary levels. This project is supported by PEN International in UK, and the Swedish International Development Cooperation Agency (SIDA). The first workshop was successfully held last March 25 in Far Eastern University-Manila.

The second of the series, a lecture-workshop on teaching poetry and fiction in English, Filipino and regional languages, will be held on May 6, from 8:30am to 4:00pm, at the University of San Agustin’s Conference Room, Blanco Hall, General Luna St., Iloilo City. PEN authors and Metrobank Outstanding Teacher Awardees Dr. Marjorie Evasco and Dr. Leoncio Deriada will serve as the facilitators.

In this regard, may we invite your faculty members to participate in this workshop? There is no registration fee. A workshop kit and a certificate of attendance will be given to each participant.

At this point, PEN is making arrangements with possible patrons to sponsor the lunch for the participants. We have not finalized anything though. However, may we assure you that there are decent and affordable eateries located within and outside the campus.

For pre-registration, please submit the name/s of your participant/s and your school to PEN. You may email PEN at, or please text +639175287491.

Thank you for your kind attention. We look forward to your participation.

Very truly yours,

Joselito B. Zulueta
National Secretary
Philippine Center of International PEN
c/o Solidaridad Bookstore
531 Padre Faura St., Ermita, Manila, Philippines
Tel. (632) 5230870; Telefax (632) 5255038

Saturday, January 29, 2011

To the Pamiyabe Fellows 2011

Hi guys and gals! Here is a funny poem by the American poet laureate Billy Collins. Hope you have a laugh or two, as well as some insights why some metaphors work and others don't, why some lines sing without trying too hard to do so. Hope you have learned the basics in spinning tales (for the fictionists) and conjuring images(for the poets). Remember always the Three Rs necessary to become a wordsmith: Reading, Writing (the initial consonant is silent, right?), and Rewriting... Feel free to post comments or ask questions regarding specific aspects of the writer's craft.

by Billy Collins

I might as well begin by saying how much I like the title.
It gets me right away because I’m in a workshop now
so immediately the poem has my attention,
like the Ancient Mariner grabbing me by the sleeve.

And I like the first couple of stanzas,
the way they establish this mode of self-pointing
that runs through the whole poem
and tells us that words are food thrown down
on the ground for other words to eat.
I can almost taste the tail of the snake
in its own mouth,
if you know what I mean.

But what I’m not sure about is the voice,
which sounds in places very casual, very blue jeans,
but other times seems standoffish,
professorial in the worst sense of the word
like the poem is blowing pipe smoke in my face.
But maybe that’s just what it wants to do.

What I did find engaging were the middle stanzas,
especially the fourth one.
I like the image of clouds flying like lozenges
which gives me a very clear picture.
And I really like how this drawbridge operator
just appears out of the blue
with his feet up on the iron railing
and his fishing pole jigging—I like jigging—
a hook in the slow industrial canal below.
I love slow industrial canal below. All those l’s.

Maybe it’s just me,
but the next stanza is where I start to have a problem.
I mean how can the evening bump into the stars?
And what’s an obbligato of snow?
Also, I roam the decaffeinated streets.
At that point I’m lost. I need help.

The other thing that throws me off,
and maybe this is just me,
is the way the scene keeps shifting around.
First, we’re in this big aerodrome
and the speaker is inspecting a row of dirigibles,
which makes me think this could be a dream.
Then he takes us into his garden,
the part with the dahlias and the coiling hose,
though that’s nice, the coiling hose,
but then I’m not sure where we’re supposed to be.
The rain and the mint green light,
that makes it feel outdoors, but what about this wallpaper?
Or is it a kind of indoor cemetery?
There’s something about death going on here.

In fact, I start to wonder if what we have here
is really two poems, or three, or four,
or possibly none.

But then there’s that last stanza, my favorite.
This is where the poem wins me back,
especially the lines spoken in the voice of the mouse.
I mean we’ve all seen these images in cartoons before,
but I still love the details he uses
when he’s describing where he lives.
The perfect little arch of an entrance in the baseboard,
the bed made out of a curled-back sardine can,
the spool of thread for a table.
I start thinking about how hard the mouse had to work
night after night collecting all these things
while the people in the house were fast asleep,
and that gives me a very strong feeling,
a very powerful sense of something.
But I don’t know if anyone else was feeling that.
Maybe that was just me.
Maybe that’s just the way I read it.