Date post: | 15-Jun-2015 |
Category: |
Education |
Upload: | cmscript013 |
View: | 2,674 times |
Download: | 4 times |
LITERATURE AFTER EDSA1986-1995
By: Rowena M. MaderseBSOA-2
BEGIN HERE!
s The year 1986 marks a new beginning of a new scene for Filipino writers and artists. It saw the downfall of late President Ferdinand Marcos when he placed the Philippines under martial rule last September 21,1972. This action does not only oppress the writers' right to free expression but also created conditions that made collaboration and cooperation convenient choices for artists' struggling for recognition and survival. Furthermore, the growth of underground writing was created both in urban and in the countryside. The popular "Edsa Revolution" (EDSA, a highway in Metro Manila that runs north to south from Caloocan to Baclaran) has paved the way for the flight of the dictator and his family to Hawaii, USA on February 24,1986. The revolt established the presidency of Corazon Aquino, which marked the "restoration" of a pre-Martial Law society. However, the Philippines did not recover that easily. The years that followed "Edsa" was a wild "roller-coaster" ride for many Filipinos. The unease times was caused by natural disasters that left the economic plans in shambles. Militancy and belligerence best describes writing under the Martial Law regime. With the overthrow of the enemy in 1986, however, the literary activity showed certain disorientation manifesting itself in a proliferation of concerns taken up by individual writers and groups. Creative writing centers after Edsa maybe grouped into two. Academic institutions where Creative Writing is part of the curricular offerings, and students majoring in Literature are able to come in contact with elder creative writers/critics/professors belonged to the first group. Such academic institutions includes the Silliman University; the University of the Philippines; the Ateneo de Manila University; De la Salle University; and last but not the least, San Carlos University in Cebu. The second group is composed of writers' organizations that periodically sponsor symposia on writing and/or set up workshops for its members and other interested parties. UMPIL (Unyon ng mga Manunulat ng Pilipino), PANULAT (Pambansang Unyon ng mga Manunulat), Panday-Lipi, GAT (Galian sa Arte at Tula), KATHA, LIRA (Linangan sa Imahen, Retorika at Anyo), GUMIL (Gunglo Dagiti Mannurat nga Ilokano), LUDABI (Lubas sa Dagang Binisaya) and P.E.N. Writers get to hear about new developments in writing and derive enthusiasm for their craft through these twin centers. The two "unyon" function as umbrellas under which writers belonging to a diversity of organizations socialize with fellow writers.
NEXTBACK
Award giving bodies, annual competitions and publications provide the incentives for writers to keep producing. These actions perform the important service of keeping the writers in the public consciousness, making it possible for commentators and audiences to identify significant established writers and give attention to emerging new talents. The National Commission on Culture and the Arts (NCCA), a post-EDSA state sponsored institution, was created by the law in 1992, superseding the Presidential Commission on Culture and the Arts which was established in 1987. The said institution has a Committee on Literary Arts which funds workshops, conferences, publications and a variety of projects geared towards the production of a "national literature". The committee has the aim of developing writing that is multi-lingual, multi-cultural, and truly national. Non-governmental organizations have helped hand in hand with some institutions in giving recognition to writers from specific sectors in the society. These NGO's includes the Amado V. Hernandez Foundation; the GAPAS foundation, and the KAIBIGAN. Campus publications are another group of outlet that is of importance as a source of non-traditional, experimental writing. These campus publications could either be a weekly student newspapers, quarterly magazines, or annual literary journals. The University of the Philippines has the Collegian; The Diliman Review; and The Literary Apprentice. Silliman University has Sands and Coral; Ateneo de Manila University issues Heights and Philippine Studies; De la Salle University has Malate, Likha, and Malay to offer; University of Santo Tomas publishes The Varsitarian. Overall, the character of the Philippine literary scene after "EDSA" maybe pinpointed be referring to the theories that inform literary production, to the products issuing from the publishers, to the dominant concerns demonstrated by the writers' output, and to the direction towards which literary studies are tending. 1. There is in the academe an emerging critical orientation that draws its concerns and insights from literary theorizing current in England and the United States. 2. Post-EDSA publishing has been marked by adventurousness, a willingness to gamble on "non-traditional" projects. 3. The declining prestige of the New Criticism, whose rigorous aesthetic norms has previously functioned as a Procrustean bed on which Filipino authors and their works were measured, has opened a gap in the critical evaluation of literary works. 4. The fourth and final characteristic of post-EDSA writing is the development thrust towards the retrieval and the recuperation of writing in Philippine languages other than Tagalog.
NEXTBACK
FAMOUS AUTHORS AND THEIR NOTABLE WORKS
NEXTBACK
Lilia Quindoza Santiago is a writer and editor. Her works focus on feminism in the lives of the indigenous people, the Ilocanos, and other ethno-linguistic groups in the Philippines. She was born in Manaoag, Pangasinan to Victorino Quindoza and Buena Cadanilla. She is married to Jesus Manuel Santiago with whom she has four
children - Haya Pag-asa, Halina Mandala, Balagtas Himigbayan and Daniw Plaridel.
Lilia Quindoza Santiago
NEXTBACK
"Tula Sa Sanaysay"
Sining ang sanaysayIsang tula sa kalawakan ng malay.
Dito, sinusukat ang saklaw ng kaalamanTinutugma ang liwanang ng isip, luwalhati ng puso,Sa pagdaloy ng mga salita,Sa paglilinaw ng mga harayaSa paghahawan ng salimuot sa daigdigNa patuloy na umiinog sa mga tanonguzeliserio.blogspot.comWalang hanggang katanunganNa walang iisang katugunan.
Tula ang sanaysayPagpapalawig ng ulirat sa malayang kadilimanPagpapanumbalik ng tibok sa nakaambang kamatayanIsang bukas na larangang bukas sa
lahat
Tula ang sanaysaySa kanyang anyoSa kanyang sariliSa kanyang salaysaySa kanyang kasaysayang lumingapSa mundong lagi’t laging may tinutuklas
Iisa ang tula at sanaysay sa kanilang pakay:Iluklok ang Bathala ng karunungan at pagmamahalSa lahat ng bagay.
One of the famous Poetry that Lilia Santiago popularized during her time . .
NEXTBACK
Charlson L. Ong , resident fellow of the Institute of Creative Writing and fictionist/scriptwriter/singer extraordinaire, was born on July 6, 1960. He obtained an A.B. in Psychology from the University of the Philippines in 1977, and currently teaches literature and creative writing under UP's Department of English and Comparative Literature.
Charlson L. Ong
NEXTBACK
Charlson Ong’s latest novel, Blue Angel, White Shadow, is a welcome addition to Philippine literature in this genre. While the story has the usual elements of a crime fiction story—a crime, victim, a list of suspects, clues, and a detective—it does not entirely follow the traditional mold.
The story begins like most crime fiction: with a murder. Twenty-five-year-old Laurice Saldiaga is a lounge singer in a Binondo bar called Blue Angel Café, and she is killed in her room just above it. The detective, Inspector Cyrus Ledesma, is assigned to the case by his superior officer and uncle. Having grown up in Binondo, Ledesma encounters familiar faces and revisits his checkered past as he probes Laurice’s murder.
Every character that Ledemsa investigates has a possible motive to commit the crime and it keeps the reader guessing as to who is the guilty party: Is it Saldiaga’s boss Rosa Misa? The
waitress Bituin? The piano player Rey? Manila mayor Lagdameo Go-Lopez? Business mogul Tony Cobianco? Ledesma also has to deal with Rosa Misa’s daughter, the journalist Rosemarie, who looms large in the plot and desires to clear her godfather Tony’s name.
Unlike many murder mysteries where the point-of-view is usually that of the detective, Ong devotes a chapter each to a character’s story, letting the reader judge for himself or herself if, based on this character’s history, he or she is the likely culprit. The novel also takes the reader through the nuances and complications of Philippine and Chinese-Filipino history, politics, and culture. The intricate web that Ong spins between the characters keeps the suspense and excitement at a high level.
The Blue Angel, White Shadow, a popular novel written be Charlson Ong..
NEXTBACK
Was born on January 15,1954. Dalisay was a writer whose expertise is cover upn Fiction, poetry, drama, nonfiction and screenplay.
Dalisay has authored more than 20 books since 1984. Six of those books have garnered National Book Awards from the Manila Critics Circle. In 1998, Dalisay made it to the Cultural Center of the Philippines (CCP) Centennial Honors List as one of the 100 most accomplished Filipino artists of the past century. Among his numerous books are Oldtimer and Other Stories (Asphodel, 1984; U.P. Press, 2003); Sarcophagus and Other Stories (U.P. Press, 1992); Killing Time in a Warm Place (Anvil, 1992); Madilim ang Gabi sa Laot at Iba Pang mga Dula ng Ligaw na Pag-Ibig (U.P. Press, 1993); Penmanship and Other Stories (Cacho, 1995); The Island (Ayala Foundation, 1996); Pagsabog ng Liwanag/Aninag, Anino (U.P. Press, 1996); Mac Malicsi, TNT/Ang Butihing Babae ng Timog (U.P. Press, 1997); The Lavas: A Filipino Family (Anvil, 1999); The Best of Barfly (Anvil, 1997); The Filipino Flag (Inquirer Publications, 2004); Man Overboard (Milflores, 2005); Journeys with Light: The Vision of Jaime Zobel (Ayala Foundation, 2005); Selected Stories (U.P. Press, 2005); and "The Knowing Is in the Writing: Notes on the Practice of Fiction" (U.P. Press, 2006)
Jose Dalisay Jr.
NEXTBACK
Killing Time in a Warm Place, a novel popularized by Jose Dalisay …
The novel tells the story of every man, woman and child who lived during the time of martial law under Marcos’ orders. The internal conflict of every Filipino during these times, whose blood boils at being under the martial rule: voices suppressed, souls enchained and spirits crushed; and the human desire to stay alive, thus; silencing the inner cries that long to be heard and simply learning to survive.
NEXTBACK
Ricky Lee is a Filipino writer.
He has written more than 150 film scripts
since 1973, earning him more than 50
trophies from various award-giving bodies,
including a 2003 Natatanging Gawad Urian
Lifetime Achievement Award from the
Manunuri ng Pelikulang Pilipino (Filipino Film
Critics) As a scriptwriter, he has worked with
the best Filipino directors (Lino Brocka,
Ishmael Bernal, Marilou Diaz-Abaya, Chito
Rono, Joel Lamangan, Laurice Guillen, Gil
Portes, Oliva Lamasan, Rory Quintos, and
Mel Chionglo). Many of his films have been
screened in the international film festival
circuit in Cannes, Toronto, Berlin, among
others.Lee is also a fictionist, a journalist, and a
playwright.
Ricardo LeeNEXTBACK
“Sa wakas, nagbalik na ang nawawala.”Famous line my Ricardo Lee in his novel, the “Kabilang sa mga Nawawala”. The novel talks about a person who lost during the time of martial law. Because of his fear and pain he experienced with the people who adopted him, he was able to escape and find himself in the middle of nowhere.
NEXTBACK
Danton R. Remoto (born March 25, 1963) is a Filipino writer, essayist, reporter, editor, columnist, and professor. Remoto was a first prize recipient at the ASEAN Letter-Writing Contest for Young People. The award made Remoto a scholar at the Ateneo de Manila University in the Philippines. As a professor, Remoto teaches English at the Ateneo de Manila University. Remoto is the chairman emeritus of Ang Ladlad, a lesbian, gay, bisexual, and transgender (LGBT) political party in the Philippines.
Danton R. RemotoNEXTBACK
Like many other contemporary poets, Danton Remoto is trying to establish his own place on the history of Philippine contemporary literature. Although his poetry reflects his youthful idealism, Nationalism and his struggle against loneliness, still his poems possess a
resounding resonance and exceptional nuance which move the spirit and the soul of the readers. It is necessary to note that he produced all poems in this collection when he was still on his early twenties . The way Remoto presented a simple idea and his mastery in capturing
the imagination by presenting a striking imagery is exceptional. No other poets can duplicate his mastery in weaving verses.
In the poem Antipolo Vender (Skin, Voices, Faces, Anvil, 1991, p.4) he said:A gaslamp throws
shadowsof the face
of the pregnant vender.
Her half frozen bloodCurdles,
as the hills hugtheir knees
In the dark shiver of sleep. Candles melt
the hard darkness
inside the church This is my country,
that seems to have runout of candles to burn
From the dream of sadness.there, the skin
stretches into wallsThe drawbridge of the tongue
NEXTBACK
Marjorie Evasco is an award- winning Filipino poet, born in Maribojoc, Bohol on September 21, 1953. She writes in two languages: English and Cebuano-Visayan and is a supporter of women's rights, especially of women writers. Marjorie Evasco is one of the earliest Filipina feminist poets.
Marjorie Evasco
NEXTBACK
Sagada Stills IN A F L O A T I N G WORLD If with words If with images I You
could catch on photographic film on silk paper
a likeness of You of Me in Sagada I would have You would have
to sit a thousand years with master of austere
Light Measure Masferré Shikibu
to learn the process of rendering of staining Silence Sound
Segada Stills In A Floating World, one of the poetry popularized by Marjorie Evasco during the post literature period.
NEXTBACK
Ruth Elynia S. Mabanglo (born March 30, 1949) is a professor at the Center for Southeast Asian Studies at the University of Hawaii at Manoa. She is the coordinator for the Department of Hawaiian and Indo-Pacific languages and literatures as well as the Filipino and Philippine Literature Program. Her most recent publications were "Balada ni Lola Amonita" and "The Ballad of Lola Amonita" in Babaylan: An Anthology of Filipina and Filipina American Writers, edited by Nick Carbó and Eileen Tabios and published by Aunt Lute Books in the year 2000.
Ruth Elynia S. Mabanglo
NEXTBACK
Liham ni Pinay mula sa Brunei
Ako’y guro, asawa at ina.Isang babae--pupol ng pabango, pulbos at seda,Kaulayaw ng batya, kaldero at kama.Napagod yata ako’t nanghinawa,Nagsikap mangibang-lupa. Iyo’t iyon din ang lalaking umuupo sa kabisera,Nagbabasa ng diyaryo uma-umaga.Naghihintay siya ng kapeAt naninigarilyo,Habang kagkag ako sa pagitan ng kuna at libro,Nagpapahid ng lipstick at nagpapatulo ng gripo.Hindi siya nag-aangat ng mukhaUmaaso man ang kawali o umiingit ang bata.Hinahatdan ko siya ng brief at tuwalya sa banyo,Inaaliw kung mainit ang ulo.Wala siyang paliwanagKung bakit hindi siya umuwi magdamag,Ngunit kunot na kunot ang kanyang nooKapag umaalis ako ng Linggo.Ayaw niya ng galunggong at saluyot
Kahit pipis ang sobreng inabot,Ibig pa yatang maghimala ako ng ulamKahit ang pangrenta’y laging kulang. Ako’y guro, asawa at ina.Isang babae-- napapagal sa pagiging babae.Itinakda ng kabahagingMasumpa sa walis, labada’t oyayiKahit may propesyo’t kumikita ng salapi.Iyo’t iyon din ang ruta ng araw-araw--Kabagutang nakalatag sa kahabaanNg bahay at paaralan,
Ng kusina’t higaan. May karapatan ba akong magmukmok?Saan ako tatakbo kung ako’y malungkot?May beerhouse at massage parlor na tambayanAng kabiyak kong nag-aasam,Nasa bintana ako’t maghihintay.Nagbabaga ang katawan ko sa paghahanap,
May krus ang dila ko’t di makapangusap.Humihingi ng tinapay ang mga anak ko,Itinotodo ko ang bolyum ng radyo.Napagod yata ako’t nanghinawa,
Nagsikap mangibang-lupa. Noon ako nanaginip na nakapantalon,Nagpapadala ng dolyar at pasalubong.Nakakahinga na ako ngayon nang maluwag,
Walang susi ang bibig, ang isip ay bukas.Aaminin kong ako’y nangungulilaNgunit sariling kape ko na ang tinitimpla.Nag-aabang ako ng sulat sa tarangkaha’t pinto,Sa telepono’y nabubusog ang puso.Umiiyak ako noong una,Nagagamot pala ang lahat sa pagbabasa. Ito lamang ang sagot,Bayaang lalaki ang maglaba ng kumot.
NEXTBACK
THE ENDTHANKS FOR WATCHING
BACK