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GENDER AWARENESS THROUGH THEATER ARTS, GAMES AND PROCESSES
GENDER AWARENESS THROUGHTHEATER ARTS, GAMES AND PROCESSES
This is primarily a manual for gender awarenessfacilitators who have undergone training in theuse of theater games and processes and lorfacilitators adept in gender issues and theatertechniques.
USAPANGBABAE
GENDER AWARENESS THROUGHTHEATER ARTS, GAMES AND PROCESSES
National Commission on the Role of Filipino WomenManila, Philippines
t992
NCRFW PROJECT STAFF
REMEDIOS I. KIKKENERMELITA V. VALDEAVILLA
ROSANITA A. SERRANOMAYVELYN B. REMICIO
ADMIN ISTRATIVE, PROCRAMS AND RESEARCH STAF'F'who have contributed to the testing of the module
BOOK PKODUCTION STAFF
Writers BINC C. MACTOTOERNIE N. CLOMA
I{anaging and Copy Editor JOHVEN VELASCOFrook Design and Layout PIO CANDELARIA
Illustrators BONA DAZOCORAZON YAPPIO CANDELARI,A
Music Notator UPENG QALANQ FERNANDEZ
oNational C,ommission on the Role of Filipino Women
Manila, ?hilippines1992
Forewordender Consciousness Raising in thePhilippines as a component ofgovernment development prograrns ismade imperative by the Philippine
Development Plan for Women as adopted andapproved for implementation by Executive OrderNo. 348 and recently, by Republic Act 7192 orthe Women in Development and Nation BuildingAct. The program for consciousness raisingtargets the entire hierarchy of government, fromthe top management of the agency to theextension workers.
Because of the very nature of their jobs,gender consciousness raising c€rn be given/conducted through highly conceptual andtechnical orientation sessions or trainings foragency top management and technical staff(MANCOM, Planners, FIRDs). On the other hand,when conducting orientation and training ofextension workers and researchers, who areactually in the frontlines dealing with thegrassroots - wornen and men - it is not enoughto have the concepts. The process of training isas important.
The task of training the extension workersand researchers has been delegated to theHuman Resource Development or TrainingOfficers of the different agencies. How can weassist the extension worker raise theconsciousness of the grassroots on gender in a
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more creative way? How can gender concerns bepresented in a manner that people wouldunderstand and participate in advocatirrg gender-responsive development? And in turn, how canboth women and men easily express their ownappreciation, ideas, and experiences of theirpresent realities?
This is where theater for grassroots educationor "popular theater" as a consciousness raisingmethodolory comes in. The NationalCommission on the Role of Filipino Women(NCRFW) had this handbook developed andpublished as part of our commitment to advocategender and as our contribution to people inconstant comnnunication with others.
The handbook is intended to be a guide fortrainors and extension workers. We hope thatthrough the suggested exercises, we may be ableto tap the creative potentials of trainors and theirparticipants so that both may be able to freelyexpress their feelings and experiences. Thehandbook is like a treasure map which we hopewill lead those who will use it and those who willexperience it to a more meaningful developmerltof the human being.
Remedios l. RikkenExecutive DirectorNCRFW
ContentsForeword
lntroduction
?art One:THEATER F'OR CRASSROOTS EDUCATION
Education Through Integrated ArtsFIow to Prepare a Workshop Syllabus
Part TWo:BASIC WORKSHOP FOR CENDER AWARENESS
Model Syllabus for a 5-Day Basic WorkshopDay l: Nasa Sarili ang KulturaDay 2: Mga Istruktura at ang BabaeDay 3: Pagbabago
?art Three:AI.,TERNATIVE AN D SUPPLEMENTARYEXERCISES
Exercises tsased on Topics/lssuesSpecial Functional ExercisesSuggested Readings of Basic
Qender Awareness Training
Appendicesl. A Meeting '
2. Creed3. Ang Fantasya ni Eba4. He Works, She Works5. The Obstacle Course6. For Every Woman7. What ls To Be Done?B. Course Evaluation
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Introductionow do we best tatk about gender issueswith women, especially women in thegrassroots? In what way can we bestfacilitate women's reflections on their
lives and help them see the role that genderplays in them? How can we make this Process ofreflection the beginning of the Process of womanempoweffnent, of women learning to get hold oftheir lives and to deal with the effects of genderon them?
When the National Commission on the Roleof Filipino Women (NCRFW began runningseminars on gender issues, it realized thatconventional training aPProaches, usinglectures and discussions, have limitedapplicability to grassroots women. Feministtheories and gender ideolos/ have to bepresented in ways that communicate towomen in their real-life situations, in theirdaily struggle to balance the demands ofchild care and income earning, most often,in conditions of extreme poverlry.
Luckily, the NCKFW did not have to look far.Kight here in the Philippines, from the grassrootspeople'S movement, vanous conscientizationapproaches have been tried, tested, and Provedeffective. One of these is theater for grassrootseducation, oftentimes called "PoPular theatQr",
widely used by non€overnmental and communityorg€ulizations. The Philippine Educational TheaterAssociation (PETA), over a decade of experiencein popular theater, both in the Philippines andabroad, ha,s now fully developed this educationaltool.
The partnership of NCRF'W and PETA in theuse of th eater for gender awareness raising hasbeen intermittently going on since l9B7 , Itbegan with the holding of workshops on creativedramatics for the NCRFW staff and women fromsome of NCRFW's partner agencies ingovernment. Participants were personnel fromthe Bureau of Women and Young Workers of theDepartment of Labor and Employment and theBureau of Agricultural Extension of theDepartment of Agriculture whose work involveddirect contacts with women workers and peasantwomen. In choosing to give them the theaterworkshop, NCRFW did not think much ofintroducing to the bureaucracy a new approach toeducation. Its main intension was to helptransform the woman employees' own '.
perceptions of themselves.
A ware of the impact of creative dramaticson people, NCRFW wanted to give the participantsa venue for releasing their inhibitions, forexploring their creativities and for expressingtheir inner selves. NCKFW believed that byfirst helping the participants become more atease with themselves as women will they bebetter prepared in relating with their womanclientele.
The next opportunity for exploring howpopular theater can be used in genderawareness raising came with the appointmentby the Civil Seruice Commission of EqualityAdvocates (EQUADS) in all its regionaloffices. Their main task is to attend to casesof discrimination against women in thegovernment seruice. Their role requires that theythemselves fully appreciate the gender problembefore they can effectively assist woman victimsof discrimination. NCRF'W and CSC believed thatthis is best achieved by facilitating the EQUADS'reflections on their lives to see how the genderproblem affected them. Thus, the use of populartheater as the training approach, and of genderas the content, was decided. They again tappedPETA to serve as trainors.
The success of these joint efforts encouragedNCRF'W and PETA to fully develop a module onthe use of popular theater for gender awarenessraising. Confident on how well theater haspromoted grassroots education, both agencieswent ahead in developing a module in the use ofcreative dramatics for educating grassrootswomen in gender issues.
The need for completing this module becamemore urgent with the NCRFW involvement in theUNICEF'-funded project for women and children,entitled Area-Base Child Survival andDevelopment Prograrn. NCRF'W volunteered todevelop a training module that can be used bythe project implementors for the womanparticipants to the prqiect. Funding for the full
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development of this module carne from UNICEF',to whom NCRFW is grateful.
NCRF'W first tested this module in aworkshop mainly to its rank-and-file staff whohad very little formal training in gender issues.NCRF'W chose the staff to be its firstparticipants because it hopes to reach the restof the rank-and-file women in government. AIsoas staff, they must likewise fully appreciateNCRF'W's work so that they can connect theirwork with their own lives, and adopt its missionzls their own.
These experiences led NCRF'W and PETA tofinalize this module on Basic Qender AwarenessWorkshop. It adopted PETA's methodology:" education through integrated arts" (Seepp. 9-l l). The content focuses on genderissues, specifically the participants' ownexperiences and insights on the gender problem.
The module makes use of Creative Drama,Creative Writing, Visual Arts, Creative Sounds andMusic, Creative Body Movement, and CroupDynamics. It hopes to stimulate the vastreservoir of under-utilized creative energiesarnong the participants and to help them giveform and expression to their inner selves. Thus,the workshop takes them along the road towardsself-empoweffnent.
The process advances self-empowerrnent byusing life experiences as the content of theworkshop. The sessions try to identify how the
gender problems manifest in the participants'lives and what they can do to break the cycle ofgender subordination. It also makes them realizethat their problems aye not unique and isolatedpersonal misfortunes; they have social andpolitical dimensions. Action must thereforeinvolve both personal and socio-politicalresponse. Both content and Process allow themto build sisterhood and to begin to think alongcollective action.
With this module, NCRFW and PETA hope tocontribute to raising women's consciousness, tobuilding women's collective action, and topromoting women's empowerment, esPecaillyamong women who need these most - flrswomen in the grassroots.
MAXIMIZING THE USE OF TIIIS PIANUAL
Below are some guidelines in using this manual.
O We never considered this manual to be arecipe book. The plans, content and methods ofattack will always depend on the obiective of theworkshop, the facilitators' obiective and moreimportantly, the needs of the participants. (Seepp . l2-14.)
O Exercises may vary according to the needsof a particular situation. Methods of giving anexercise can also change. The manual wants toevolve a participatory and evocative orpartici pant -cent ered [)rocess.
O We find the other exercises in the Clossaryof Alternative Exercises (?art III) useful. Youmay supplement the exercises suggested in themodel syllabus.
O Notice that the chunking of exercises ismodular, thus one exercise leads to another andthe graduation of exercises deepen the issuestackled as well as its processes. The facilitatorshould see to it that graduated series ofexercises deepen a m4jor content/issue.
O You c€u1 invent or irnprovise new exerciseswhich will enrich the experience. Share thesewith us.
O Read through the whole 1-day plan andmake your own if you wish.
O The facilitator's adaptability and sensitivityplays a vital factor in adopting these plans.
At some points, wherever we feel it ,
necessary and helpful, we give instructions and/'or examples for the exercises and activities inFilipino or in combination of English and trilipino.We enjoin the facilitators to do the satne - usingthe bilinqual approach - whenever they feel thatthe instructions/examples may be understoodbetter that way.
Good luck and Congratulations. May yourconcern for the Filipino women be greater.
Parft @n@
TTIEATEKFOKGKASSROOTSEDUCATION
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IEDUCATION TTIKOUGHINTEGKATED AKTS-
hrough the years the Phitippine Educational TheaterAssociation or PETA has successfully proved theeffectiveness of a method of sharing skills and insightsthrough an lntegrated Arts Education Program that
considers individuals and their relation with a group. Thismethodolory demonstrates the value of zut in freeingindividuals steeped in a culture of silence. They realizetheir creative potentials and in the process release,explore, become aware, select, master and apply thispotential for gtrowth. Called RAESMA (after the initial lettersof the processes) these methods of stimulating growthconstitute the whole workshop process,
The Integrated Afts Workshop (lAW) makes use ofCreative Drama, Creative Writing, Visual Arts, CreativeSounds and Music, Creative Body Movement, andGroup Dynamics to stimulate the vast reservoir of under-utilized creative energies among the participants. It alsotaps their inner resources to help them give form andexpression to their inner selves. The worlshop helpspalticipants grow into creative persons no matter who theyare, where they come from, or whatever their occupationand status in life iare, rather than make professional aftistsand performers out of them. In this manner, theaterutilizes the development of human resources and creativepotentials, truly glving it an educational function.
Creative Drama serves as the workshop's coresubject area. Primarily an improvisational theater, theoutput depends on the imagination and creativity of theparticipants. Creative Writing provides non-writers with
' Reprlntcd from BITAW: Baslc Inlegratecl Theater Afts Workshop Manual (?EIA ManualScrk:.s No. l ), Phllllrlrlnc fldrrcatlorral Thr:ater Assoclatlon, 1 987.
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experiences that may serve as points of departure to thecomposition of poems and narratives in written or oralform. Visual Arts explores the elements of arts andprinciples of design in actual improvisatiors, through theuse of exercises that build skills in imagery and actualexecution, using simple materials and techniques.Creative Sounds and Music introduces the power ofsound and music in communicating ideas and feelings, atthe same tirne encourages the participants to explorepossibilities rather than allow themselves to be limited byconventional means. Creative (Body) Movement helps inmaking the participants become aware of the extent andthe power of the body in conveying messages with gesturesand mimetic movement. To prepare the paticipants in thespontaneous use of their bodies for self-expression,release exercises are included. Warm-ups and physicalexercises, used daily in the workshop, release physicalas well as psychological tensions that tend to reinforceinhibitions. These release exercises free the participantsfrom the fear of failure or committing mistakes. Ultimatelythese make participants realize that the ability to expresswhat one thinks or feels and to recognize one's potentialsserve as the essence of empowerment. Lastly, GroupDynamics facilitates i nteraction among pafticipantsleading to camaraderie, teamship and community spirit.
Group Process
Active pafticipation of each and every individualnot only in the games and exercises but also inthe discussions, in the sharing of views, opinions andsuggestions became one outstanding feature of thePETA workshop process. No individual dominates anyactivity, not even the facilitator who acts unobtrusively.The group in a workshop represents a microcosm of abigger world outside. The dynamics of a group reflects thedynamics of the outside world. Group dynamics in PETAworkshops refers to all activities, games and exerciseswhere goup interaction occurs. Most of the workshopexercises end up as group activities, although initially some
may start with individuals. Just as exercises progress fromsimple to complex, the working method also progressesfrom individuals to subgroups to big group.
The groups, in additioh, process their own dynamics."To process" here means to talk about what transpiredduring the goup's activity and each speaks about his/herexperiences with particular co-pafticipants and with thegroup in general. Civing and receiving feedback, therefore,constitutes a vital feature of lgoup process. Pafticipantsconstantly glve their comments and observations at theend of each unit lesson and whenever possible, give theirsuggestions and recommendations. Since this is most ofthe time built in the exercises, the participants get trainedto give qualified criticisms that will benefit everyoneconcerned. Toward this end, participants receive guidelinesso that criticisms Eue constructive, properly motivated andwell-directed. Tactless and personal criticisms which domore harm than good Ne avoided.
Finally, the synthesis session at the end of each dayallows the participants to reflect on and assess theirexperiences. Here, experiences get elevated to the level ofconcepts thereby integrating the learnings gained.
HOIil TO PREPAKE AWOKKSHOP SYLLABUS-
he syllabus, the actual teaching guide, contains theconceptual framework of a pafticular workshop. Itincludes the timetable, the objectives, motivationalapproaches, materials needed, actual lesson plan,
theoretical input, procedures, instructions, and guidelines.While a workshop syllabus should allow arnple room forspontaneous expression and unhampered creativity of thepafticipants, it entails careful planning to ensure that thefacilitators Ne guided by a teaching approach that willeffect the desired objective.
We consider syllabus planning, therefore, as animpoftant phase in the entire workshop process. Likenedto a journ ey, the traveller prepares for the trip and readiesthe following: personal needs, objectives of the trip, themap and the routes, budget, and activities. She preparesalternative courses of action to achieve the objectives ofthe journey.
How then do you prepare for a workshop experien ce?Below are a few guidelines,
.
O Sit down with the sponsoringorganization.
Find out the objectives of the workshop, what it hopesto achieve during and after. Why did they think of aworlshop for the group? Is it to tap their creativepotentials? Why? Is it a need? Do they intend to come upwith a production? Do they intend to use the workshop aspart of a process in organizing the goup for cultural work?
'Repr'fnted from BITAW: BasiclntegratedTheaterAfisWorkshopManual (?AtA ManrralSerles No. I ), Phlllppine Educational Theatcr Assoclatlon, 1987.
what is the composition of the worlshop participants?Have they undergone previous theater worlshops? Whatcultural work h ave they experienced?
These very impoftant questions help the facilitatorsin defining the thrust and scope of the workshop. At thispoint you must also inform the sponsors about thefeatures, content, methodology, and requirements of theworkshop.
O Set the workshop objectives.After an initial gathering of data on the participants'
profile and general expectations from the worlshops, theteaching team sits down to plan out the syllabus. They firstdefine the workshop objectives which are answers to theneeds of the participants.
O Plan the content of the syllabus.After setting the workshop objectives, the team
discusses the content and thrust of the syllabus. Whatinteresting modules can be used to bring out theobjectives of the workshop? What different exercises in thevarious subject areas can be used in the chosen modules?
Remember that a module consists of a series ofintegrated creative exercises using different subject areas,usually arranged from simple to moderate to complex,leading to a final form, It may be based on different theaterstyles like Realism, Dramatized Poetry @ula-Tula),Allegorical ?lay, Sarsuwela, Komedya or lvloro-lvloro,Bodabil, etc.,i or on those forms suggested by popularmass media such as radio, television, and comic books.
The cultural profile of the participants' communityalso serves as a guide in the selection of theater formsto be explored. For example, in a community wherefolktales abound, their adaptation to contemportryallegorical plays may be excellent; or in a place wherethere exists a tradition of balagtasan (poetical joust) orsinging, these forms rnay be adapted or incorporated intowhatever theater form module receptive to cultural of(:x prcssion.
A module may also spring from an objective, ?s in thecase of the Release lvlodule, invariably adopted for the firstday session. It releases inhibitions and altistic potentialsuunong the pafticipants. The Evaluation lzlodule at the endassesses the worlsshop process as a whole.
Plan in the context of the local culture, inconsideration of the values and mores of specific culturalcorununities. For instance, in certain Muslim culturalcommunities, touching between members of the oppositesex is not acceptable; so is the representation of humanforms in art which constitutes a transgression of ceftaincultural values. Be wary of such circumstances.
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BASICWORITSHOPFORGENDEKAWAKEI\ESS
BASIC CENDEK AWAKEIITESS TKAININC
9245 - I O:OO
lO:OO -ll:OO
Regidtration
Opening SessionInvocation: "A Meeting"Opening Remarks
l. UnfteezingGames
a. Tumbaloy
b. Acrostics
c. Ngusuan
d. Mahal lvlo BaAko?
e. TrabahongBabae
Naku ITal
IVIEKYElYDA
ll. PersonalSharing:Ako, Ikaw, Tayo
a. Blind ContourDrawing
b. five fingers ofMy Life
c. Urbana at Felisa
Drawing
Drawing/SharingNote-taking
Sharing
Sharing
Syrnl^rolicl(r'
1 )l (:,s(: trl :tl ior r
I lttot ttllr ArlIttsl.tll:tl lott
?aper, pencil,crayola
Pencil, paper
Drawing ofpreceedingexercise
Mla. paper'8(dt'awitrg trr:rt.s.
I)r;twlrr<1 rrr;rls.;ul l):tl)('t, t'l<ot lot tttrloIrfr'( |',
lII. ExpectationsCheck
a. Oroup Sharing
b. Syrrrbols toInsl:tllitl io rrs
MODEL SYLLABUS
ACTIVITY/TOPTC METHODOLOGY MAT./KEF.
8:5O ' 9:OO
9:OO - 9: 15
9: 15 - 9245
Qroup ?rayerWelcome/
ChallengeSpeech
Melody/Movement
Song
InteractiveDescriptions
?lay way
?lay way/YlusicalChair
Image ftableauxCroup WorkSinging Came
Reg. Forms
Flandout:A Meeting
Song Chaft
Pentel , crayola,pieces of paper
Song Chaft
facilitators/Staff
Answer toExpectation
Objectives/Schedule
Orientation toWomen'sWorkshop
Attitude Setting
ResponsibleTeams
d.
e.
f.
Presentation/Discussion
Paper folding &SymbolicRepresentation
OryanizationalProcesses/Teaming
Schedule Chaft
?aper
Schedule Chaft
l2:OO - l:OO P A /Y A /Y Ci 17 A L I A /Y
l:OO - 5: l5
l:OO - l:5O
l:50 - 2zOO
2zOO - 5: 15
lV. Sarili, Lipunan,Kulturaa, Sarili
IIong-llongTouch Body
PaftsShort feedback
b. Lipunan
Panlalake-Pambabae
feedbackSynthesis
c. Kultura
Fantasya ni Eba
Kasi Babae
Play way
Plenary
Qroup Qame
Plenary
Reflection/Disctrssion
Creative Drama
Mla. paper/pentel pen
l-landouts:"Fantasya nlEba" back-ground music
5: 15 - 5:5O
5:50 - 4 l5
tl:15 - 5:oo
M
d. "What is a Cirl?What is a BoV?'
V. Slrort Recapol t lre Day
C)r rl<'lt l(r':tr I lotts
A
[.ecture
(.r'eative Dramatt Pl()v(:rrrr:rrt
Slides
Day I Schedrrle,piec.es of paper,c;r rr:st i<>rrs
wr ll I r:n ( )n l)itlx:t
I l:OO - l2:OO
I O:OO - l2zOO Structures thatDictate The Roleof ltomen
a. DamitanFIo Ako
b. ReactionthroughSound,Movement& Dialogue
c. Deepening:Isang Araw SaBuhay N9...
d. Synthesis:
CostumeImprovisation
CreativeMovement& Drama
Creative Drama
Reflection &SharingDiscussion
Materials forC-ostumeImprovisation
Pieces o[ paper
Pieces of paperas needed byparticipants
l2zOQ-l:OO PAlYA /YOHALIA /Y
l:OO - 5:OO
l:OO - l:5O
l:5O - 5:OO
5:OO - 5:5O
lll. Analysis of theStructures
a. Paramihan N9.,,
b. Stttdy Qroups
c. Plenary Session
d. Clearing Flouse
Play way
SubgroupWorkshopsCreative Drama
Creative Sharing
Books, news-paper & maga-zines as neededby pafticipants
5:5O-5:45 IYERYE /YDA
3245 - 4:15 IV. Recap of Day 2Reflection-writing
flow of Activities(Days 2 & 5),paPer, Pen orcrayons
ACTTVITY/TOPIC METHODOLOGY MAT./REF.
9:OO - 9245 OpeningActivities
a. LimberingExercises orPhysical Qame
b. Introduction toDay 2
Body Movement
Reflection/Presentation
Taped Musicfor Limbering
Schedule/Chart
9:45 -IO:OO w E R Y E /y D A
I
h
a0n
lO:5O -lO:5O
lO:5O -l
ChangeResolution andPlanning
a. Tunggalian SaBuhay Ng Babae
We-Exercises:
. Samson &Delilah
. Out Balancing
Verbal Conflict:
. Jog-Freeze
. Verbal Pairs
b. BreakingRepression
Creative Drama/Improvisation
Creative Drama/Improvisation
Qroup SharingCreative Drama
Piecesof paper
ll.
ACTIVITY/TOPTC MAT./REF.METIIODOLOGY
9:OO - lO: l5 OpeningActivities
a. LimberingExercises
b. Qroup Dynamics
- Entanglement- Trtrst fall- Lifting &
Rocking
BodyMovement
Play way
Taped musicfor soft & easyBody Movement
lO:15-lO:5O IvIERYE /YDA
I l:50 - l2zOO
Body TouchprocessesAffirmations
MtrTA Plan
Mural-makingSong, Dance,Dramaimprovisation
Writing &Discussion
Continuation of b.
c. Qroup tlealing
lll. Pagbabalik
I
A
A
E
l2:OO - l:OO
l:OO
2:OO
2zOO
2zl5
2: 15
5:OO
5:5O - 3245
3:45 - 4245
4245 - 5:OO
lV. EvaluationModule
V. Closing Program
a. Pillow talk
b. Qrowth Chain
Sharing offeelings/Insights
CreativeImprovisation
5-word Sharing
Pieces of paper
Pentel pen,crayonsmla. paper
Mla. paper/Pens
Evaluationform
Workshopobjectives
Workshopschedule
Pillow
j&r
,*;r
NA.sA SARILIA/YG KULTURA
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lrr fiI ll),? l\r/ I It'v''tty ,J focuses on the participant as a womall. Thus,
the most important exercises involve personal andoutlook sharing as a woman and the effects ofculture on her.
There exists, therefore, a need for the facilitatorto see the connecting points and relationships of theideas surfacing from these exercises, based on thepersonal experiences of the participants" This wilthelp the facilitator synthesize the rvhole learning.
The first part, which is the release phase, is justas important. lt helps panticipants prepare for thevarious attitudinal needs of the $ucceeding exercises.
The organizational processes in the expectationscheck set the mood for the succeeding days. frlerethe participants realize that the success of aworkshop depends on everyone; thus, one may set theorganizational mechanisms earlier for smoothworkshop sailing.
OBJECTIVES FOR TIIE DAY
l. Tap and encourage the creative energies of theexpressive participants through release ofinhibitions.
Encourage active participation in variousdiscovery games and exercises.
Foster camaraderie, ftiendship and deep concernand understanding for each other.
lntroduce the workshop oQjectives, process,scope atrd issucs ilrvolvecl as well as the peopletrehind thr: w()r kslro;r.
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2. Provide un freezing activitiesthat put participants at easewith each other.
The release games include:
O Tumbaloy - name,and melody
O AcrosticsO Ngusuano t lahal tvlo
Ba Ako?
movement- (5 mins.)- (5 mins.)- (5 mins.)
- (S mins.)O Trabahong Babae?
Naku flall! (lO mins.)
After the games, have a 4-bminute sharing by asking thefollowing questions:
What do you feel now? Why?What did you discover aboutyourself or about each oth er?What can you say about thegrouP now?
oo
OPENING SESSIONINVOCATION
15 rnins.Objective:
To open the workshop through agroup prayer.
Materials:tlandout - "A lvleeting" (SeeAppendix l, p. I l g)or any prayer may be said for thesuccess of the worlshop
Procedure:
l, Form a big circle. Crouppafticipants into threes. Eachgroup reads a stan za from thehandout fliriam of Nazareth
While a group reads, othersfollow and reflect on themessage given.
After the whole reading, havea minute of silence. Thefacilitator leads the reflection/prayer.
3.
I. I.JNFREEZING GAMES
30 mins.The succeeding games
rclease inhibitions of the partici-pants, break down walls andrnake them more comfortable witht:ach other. Certain aspects onbeing a woman get injected in thelast exercise to make the partici-1>ants more conscious of the thrustof the workshop . lf , however, theparticipants already know eachother, Game I may be omitted.['roceed to Came s 2,3,4. Eachgame may last for 5-7 minutes.
OBJECTIVES:
Provide release activities thatwill help pafticipants get toknow the name of eachpafticiparrt. o
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A. TUIWBALOY(5 mins.)
Objective:
Introd uce oneself creatively.
Procedure:
Croup forms a circle. Onestarts by saying her nicknamealoud; gfoup echoes.
First 6 participants give theirnames aloud; group echoes.
Next 6 participants say theirnames with a melody (beoriginal); group echoesmelody.
Next 6 participants give theirnames with melody andcorresponding movernent (beorigrnal ) ; gfoup echoesrnelody and movement.
-D. Next 6 persons give theirnames with melody, each witha corresponding movementshowing things she enjoysdoing (be original); goup mir-rors melody and movement.
At the end of the activity teachthe following song and askeach one to sing and moveaccording to her personalgoal:
r{oRo:Tumbaloy-loy-loyTumbaloy-loy-loyTumbaloy-loy-loyTumbaloyTayong KababaihanSiyang Pag:asa ng BayanBabae'y isulong sa Kaunlaran
Ako si (sabihinang pangalan)
Isang Taga(sabihin ang pinang-galingang bayan)
Ang trabaho Ko'y(sabihin ang trabaho)
Ang nais Ko'y(sabihin ang nais)
TI/I"I YA;OYG
// a t,(" fl. f,tfi," Tt€
tr br, lru'7n4r\.t/14 fI4 lat
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AKO SIVILMAI'
B. ACKOSTICS(5 mins.)
Objective:
Introduce co-pafticipants based onone's perception.
Materials:
Paper, pen or crayola, pin or tape
Procedure:
l. Each player gets one wholesheet of bond paper andwrites her narne spelled down.
E.g. BINc
She then asks someone topaste the bond paper at her
2,
back. Each player movesEuound and the otherpafticipants write a word --
noun, aQjective or verb - topicture how or what she fellsabout the person whose nameis written and pasted on herback. The word should startwith any of the letters of thename spelled downwards.
When all the letters ofeveryone's n€une canies ameaning, stop the game andlet each player get the paperon her back. She reads whatis written.
E. g. E eautyI ntelligentN uttyC reat
ooooNGru ...ANO KAYAANG tstN ut_Att!'ve?
oc
C. NGUSUAN(5 mins.)
Objective:
Release physical inhibitions'
Procedure:
We Filipinos like signlanguage. At times, in Pointingout things, we use our mouth orllps (nguso) instead of usingour fi nger.
Ask participants to form a bigcircle.
The facilitator points out to aparticipant who then movesaway and goes out of thecircle.
In order to regain a Place inthe circle, the "dePosed" Par-ticipant takes her turn inpointing out a co-pafticiPant,once again through her liPs.As in step 2, the PafticiPantwho got pointed out leavelher place out of the circle.This goes on and o11...
o, AYeNt/
2,
3.
f). IIIAHr\L MO BA AKO?
(5 mins.)
Objective:
Get to know more about thegroup's physical characteristics.
Procedure:
|-et the gfoup sit in a bigcircle.
One starts by asking "Flahalmo ba ako?"
S^ $Ar{G sr L cG",
3, If answer is YES everybodychanges her place.
If answer is ffO, the IT or thetaya asks "Sino ang mahalmo?", One answers accordingto specific physicaldescription of a SFoup.
E.g. Lahat ng naka-maofrg,Iahat ng naka-hikaw, etc.All those fitting thedescription shall changeplaces.
E. TRABANONG BABAE?/VAKU HA!!
(l O mins.)
Objectives:
I . Define specific tasks done bywomen.
2. Foster fun and team work in acreative activity.
Procedure:
TAYOIYC BABAE
Tayong babae,lagi nang handa
Tayong babae,kay raming gawa
Tayong babde,Iikas malakas
Tayong babae, PAO-ASAl.
2.
t. Staft by teaching this sohg:(To the tune of "WARAY-
WARAY,"
TAYDNL- VADAE- (+, lite t.an" UJAKAY - UA[-
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4-r I
Tu y.t3
K/.y va:W in'1 i.t- ''tta'
ta /. r:,
Ta ya{{ b," - bo- eF
t I k1.e t/|4'\
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2, Group into threes. Think oftasls that women do or cando given a specific space.Each goup defines this taskthrough action. No words maybe used.
Came starts by singing" Waray-W aray" while gro u pdances around. When the lastword PAG-ASA is shouted,facilitator yells: "PAO-ASA angBabaeng Naglu|Ltto,"
Participants and facilitatorgrab partners (5 in eachgroup) anrl form a tableau ofbabaeng nagluluto. Since thefacilitator joined, one will nothave a group. She becomesthe IT or the facilitator.
Sing and dance around againwith "Waray-Waray" and the ITcalls out a new task. Thegame proceeds as in Step 5.
Continue the game until sixdifferent pafticipants becomethe IT.
Co back to the big circle andsit down. The facilitatorstarts with the synthesis byasking the pafticipants tosurface their feelings andinsights on the differentactivities they just did.Deepen by asking what theynoticed among the taskstraditionally assigned towomen. Some questionswhich could be asked: Whatdid you discover about thedifferent tasks women areexpected to do? How do youfeel about it? What can yousay about it?Pafticipants' answers may
mzrreilnriba-ibamadali/mahirapnakakapagodhindi binabayaran
End the activity with a song.I
IIATVII ANC BABAE
Kami ang babaeAng Babaeng PAO-ASA ng BaYanKapit kamay natin ang lalaking
bukas kaloobanSabay tayo ngaYonSa pagsulong ng kababaihanAko ay naririto, Ikaw aY narirttoSabay tayong matututo.
I<A}.TI AN6 EAVAE
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Possible tasks:
cooks food drives car
Sample Spaces:
KitchenGarage
washesclothes
chops wood
fetcheswater
gardens
tutorschildren
Bathroom GardenOffice School
types inotf ice
managesotf icework
sells f ish,etc.
cleanscar
attendsPTAmeetings
budgets
plansfamilyactivities
cleanshouse
feedspets
goes tomarket
plansmeals
II. PERSONAL STIAKING:AKO, II{AW. TAYO
t hr. A. BLIND
The succeeding exercisesallow the participants to lmoweach other deeper. Thefacilitator stresses alnong theparticipants the importanceof sharing their personalperspective as a woman,especially in Exercise 2, tomake their encounter morerneaningful. The notes gatheredhere serve as referratr pointsfor the succeedingmodules.
One major question thatcan be asked is: rvhatimportant discovery did younotice about lives of womenhere?
The games and exercisesfor personal sharing includethe following:
Blind Contour Drawing(5 mins.)
Five Finger Sharing( I O mins.)
Urbana at Felisa SmallCroup Sharing(5O rnins. )
Plenary and Synthesis(15 mins.)
CONTOI.JKDKAWING(5 mins.)
Objectives:
Introduce an approach todrawing and mi nimizeapprehensions about notbeing able to draw.
2. Encourage participants to lookstraight into each other's eyes,hoping that this will lead tomore relaxed and comfortablefeeling about each other.
Materials:
Bond paper?encil or crayola
Procedure:
l. Give each participant a pieceof paper and a pencil orcrayola. Ask her to find apartner.
2. Ask participants to sitcomfortably facing each
other , Lay the PaPer in frontof each owner and hold thepencil well.
5. Ask them to concentrate oneach other's face and try todiscover prominent features.Each one begins to draw theother's face without looking ather paper and without liftingthe pencil, such that the linesare connected. Qive themthis tip: as the eyes follow thecontour of the face, the handshould move in the samedirection that the eyes take.
,Ar NAGI<ANYA- KANvA stLANo-
AN6 MUKHA NITO'"
-D.
Give them some tirne to finistthe drawing (5-4 minutes).
Stop the drawing and ask theparticipants to look at theirwork. Are the prominentfeatures there?
Now, ask the palticipants thistime to finish and draw thefinal touches so that thedrawing becomes a neEupicture of their partner.
End by asking the pairs toshake each others hands.
onHuw,46HAN6 I4ALII((KINOKOPYAUAN6 MUKH'
vro!'
6.
l.
o
o
o
o
B. FIVE FINGEKS OF IIIY LIFE
(lO mins.)
Objectives:
l. Cet to know more about eachother,
2. Appreciate each other'svisions and perspectives.
Materials:
Pencil and paper (the back of yourpicture drawn during previousexercise)
Procedure:
I . Ask the pafticipants to havetheir pictures drawn by theirrespective partners. At theback of their pictures, askpafticipants to trace their ownhand. Label each finger uts
shown in the illustration.
Each one begins to share thepoints mentioned.
Family - background, childhood(games played, movies/
SA LIY..OD ?o LAMANG N6tNYaNG PHoto t- DRAr{tN6A NG tNvoN6 l(AMAyFltUDt Po 6nrutfo y'-'KAt461 ,
television progzuns watched,songs), idiosyncracies as achild
Education - schooling,unforgettable experiences inschool
Career - work, habits, turningpoints, strengths, weaknesses
[,ove - meaningful relationships,friends, others
Vision - ambition, life perspectiveand goals, beliefs, etc.
3. The listener may write downnotes on the hand drawn bythe pantner. Facilitator givesI O minutes for whole partnersharing.
End by grving each other afive ('Appearl"l left and a fiveright.
Ay.?
/
4, Each small goup decideswhich pair wiil share first orany pair may volunteer.
:'""|#.H.'I"ff:#,1"holding B by theshoulderB holds her picturedrawn by A.A shares her discoveriesabout B by speaking inthe first person. "l am B,That's my picturQ..."(share FIVE FINGERSDISCOVERY)When A is finishedtalking about B, B canclarify, deepen or conectsome of the thingsshared by A aboutherself,Then its B's turn to talkabout A, B talking as ifshe were A.
AKO SI B.
IPINANGANAKNA Po AKoN6MAHIYAIN TALAGA.
2.
\}Po, sHY
PO TALAGAAKO. ETO t
Po AN6 PIc
d
LYDIA,AKO AN6IYO NG
KOUSENSYAD APAT
MALIITLAN6 NA
KAl,,{Ay
C. SMALL GKOI.JP STNAKING 'I]RBAIVA AT FELISA
(5O mins.)
Ot{ectives:
| . Deepen and intern alize theunderstanding of one'spartner.
'2. Open windows of ourselves toa grouP of friends.
Itlaterials:
'l'he drawings in the Precedingcxercise
Procedwe:
I . Divide the gouP into 4-5- Pairsper subgrouP.
2. Ask each subgrouP to form asmall circle and sit on thefloor. Pairs should sit besideeach other.
5. Cive a short introductionabout URBAIYA AT FELISAzTwo friends during theSpanish time, who wrote eachother often about goodmanners and dayto-dayrelations with peoPle. Theirletters becam e a basis for abook on good manners andright conduct.
ko ol
IIT. EXPECTATIONScrilEcK
I hr.The Expectations Check
Module is an impoftant beginninglrlrase of the workshop since thiswlll be the objective spine of theworlshop. The insights and ideasllathered here will help set theIone of the different processes tolre used in the workshop. Theitssessment sessions of thelacilitating team can always refer tollre items which surfaced in theoxpectations check.
()lrjectives:
I . Surface the paticipants' goalsand expectations.
'). Synthesize these goals andexpectations using theori entati on, organ ization,aftistic framework.
.1. Compare their expectationsvis-a-vis the workshopobjectives.
Set the pafticipants' attitudetowards openness, learningand discovery.
The activities for theExpectations Check moduleinclude:
Qroup Sharing( l5 mins.)
Symbols to installation(15 mins.)
Facilitators/Staff answer toExpectation
(lO mins.)O Orientation to the workshop
(5 mins.)O Attitude Setting
(lO mins.)O Responsible Teams
(5 mins.)
Procedure:
l. Palticipants keep their smallgroup as in the precedingexercise.
2, Facilitator gives out questionsfor expectations:
o What do you expect toget/learn from thisworkshop?
o What can you give/shareto this workshop?What do you expect fromthe facilitators? Fromyour co-pafticipants?
o
o
o
PLENAKY AND SYNTTilESIS:
(15 mins.)
Procedure:
ffier all the pairs in the smallgoup have finished their sharing,lgoup now tries to seecommonalities and differences inthe lives of the members. Thegroup then lists thenr down for thenext activity.
Among the questions whichthey may ?nsw€r:
- What are the things that thepafticipants share in common?What events or experiences areconunon to most members of thegroup? What can you say aboutthat?
- Whose experience struck Youmost? Positively or negativelY?why?
Matsials:
Pentel pen , crayola, crayPas, watercolor, Manila paper Per gouP
A. GKOUP S]IARING
( l5 mins")
Objectives:
l. Share each other'sexpectatiotts.
Find commonalities anddifferences from surfacedexpectations.
t1
2.
B. SYMBOLS TOINSTALLATION
3.( l5 mins.)
Objective:
Visual ize subgroup's expectati onsand goals through an artinstallation.
An aft installation is an aftistic 4 '
composition or zurangement oftwo dimensional as well as threedimensional objects in a given
space, representing or expressinga thought, emotion/sentiment,subject or theme,
Materials:
Colored paper, bond paper,crayola, other found objects
Procedure:
Reflect the syntheses ofpersonal sharings and goalsetting into colorful symbolicrepresentations, usi ngcoloring and drawingmaterials as well as foundobjects.
Create short improvisationswhich will surface groups'sharing. Facilitator gives themtime to create their aftinstallation.
In the Plenary Session,share visuals andi m provisation s credted,representing a summationof personal sharing. Eachgroup can use 5 to 7minutes.
After the group sharing,provide 5 minutes forsurfacing of insights, feelingsand learning points from thepalticipants.
What are your personalthoughts concerningwomen's issues.
Qroup spells out theirindividual answers to theabove questions. Since thisactivity is self-facilitating, oneof the goup members can actas facilitator and anothermember as recorder orsecretary,
Group synthesizes theirsharing by looking atcorunonalities anddifferences and making finalstatements about the fFoups'goals and expectations.
C. FACILITATORS I STAFF
Objectives of Workshop/Schedule
( I O mins.)
Objective:
Know the workshop objectives,course outline and schedule.
Procedure:
objectives of pafticipants.Point out similarities anddifferences.
Present the course oufline.
Present workshop schedule.The schedule, supposedly for5 days can be extende d to 4days to acconunodate thetime needed for creativeactivities.
You may also stretch theabove schedule to a 4-d*Iive-in or a S-day live-outworkshop prosfam dependingon the needs of theparticipants.
ANSWERSTO EXPECTATION5.
-D.l.
l. Qroup participants'expectations usingorientational, artistic andorgan ization al fram e work.
Present workshop obj ectiveswritten in lvlanila paper.
Compue these objectives vis-a-vis synthesized
6.
2.
'2.
.5
Ex.: (lF LIVE-OUT)
Ex. 8:00 Morning Exercise& Praise
8:30 Session 1
9:45 Break10:00 Session Z12:00 Break
Siesta Time1:30 Session 33:30 - Break3:45 Session 44:45 - Recap of the Day5:00 - END of Day
BreakfastMorning Exercise
& PraiseSession 1
BreakSession 2Lunch
Session 3BreakSession 4BreakDinnerSession 5Recap ActivityTaps
(f F LtvE-tN)7:008:00
8:309:45
10:0012:00
. 2:004:004:156:007:008:009:30
10:00
D. ORIENTATION E. ATTITI.JDESETTING
(5 rnins.)
Objectives:
Know the background andration ale of the workshop.
Relate to the pafticipants theevents that lead to thisworkshop, as well as tointroduce the people involved.
ITO AY N ILAMUK o5
NA PAPE L . PARAN G
BRro. DAH tL Gu Sr oKO MAG IN6 MATATAG.
(lO mins.)
Objective:
Set attitudes that will help makethe workshop successful.
A. ANG BARTTO
Materials:
Pieces of bond paper
Procedure:
l. Make a big paper boat and Putthis inside the big circle.
Cive each participant a pieceof paper.
Gusro Ko NGINFo RM ATIo N AT
ENTERTNIN MENT
Create something out of thepaper which you want to bringwith you to make theworkshop Journ ey" moremeaningful and successful.
Place your objects in the boatand tell in one or twosentences why you broughtthat object.
WOKKSHOP TKTANGLE
Explain the relationship offacilitator and participants . ?learns frorn F, F learns from ?,Ps learn from each other.
Aro RtN ,r
F. RESPONSIBLETEAMS
(5 mins.)
Objective:
Create responsible teamswhich will help out in the day-to-day needs of the workshop.
Responsible Team (RT) l.Program Committee for givingwarm-up activities andassemblying pafticipants on time.
Responsible Tearn (RT) 2.Environ mental Comrnittee thattakes care of the cleanliness of thesession hall as well as of thematerial needs of the workshop.
Responsible Team (RT) 5."Uri an" committees that handlesthe daily evaluation of theworkshop activities and processes.
hxo Gn wn Nrrow o RKsrto F PA R4TuRo M6A BA6Ay_ BA6AyrNyo ... pARA TUTo KAyo.PERo AKo t auTb RtNBr.eqy - BAGA' MULAlNyo (HnwA NAMANAKo rNyC )
.1
TO THEWOMEN'SWORI{SHOP
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2.
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Theme: Lipunan - Panlalaki-Pambabae( lO mins.)
Feedback Synthesis(lO mins.)
Theme: Kultura - Fantasyani EBA(5O mins.)
Kasi Babae(SO-45 mins.)
"Wltat is a Boy?What is a GirIT'
(50-45 mins.)Short Recap
(50-45 mins.)
'Jl ps for Facilitation
l.
Objectives
l. Surface the participants'perception of gender.
2. Discover the mezrning of"Cender is Cultural,o,
RI.JN DOWN OF EXERCISE-S :
O Theme: Sarili
?re-exercises - Ilong-Ilong( lO mins.)
Touch body pafts(lO mins.)
Short feedback(lO mins.)
ln the process of facilitation,create an atmosphere of trust(whatever is shared here,especially the participants'deepest secrets, remains onlyin this session) so that partici-pants get motivated to give ofthemselves and to share theirinnermost feelings anddesires.
Be more animated in yourfacilitation. Motivate partici-pants to give more feelings,dialogu€, movements espe-cially in the creative dramaportions.
Encourage participants totranslate their reflections toactlon. [€t them surface plansor Intentions, such as drama-tlzatlon of select experlences.
A. TTIEME:SARILI
(5O mins.)
Pre-exercise:
IIong:IIong
Objectives:
Get more acquainted with oneanother in a light and fun way,
Be aware of one's body andits biological difference withthat of a man.
Procedure:
l. Form a big circle. Sit on thefloor.
2. Facilitator starts by saying"Concentrate and follow mywords not my action. Touchthe part of the body I call outand not that one which I
touch."
3, Facilitator starts "ilong-ilong"(several times, touching thenose) and then says -mata"(or any other paft of the body)but not touching the paft shesays (e.9. if she says "mata"she may touch the earinstead).
fV. SARTLI, LEWN,KULTURA
The succeeding exercisesfocus on the self, society andculture which are dominant factorsin gender oppression (womenbeing boxed in definite roles thus,limiting their potential for growth).Surface the above ideas. Duringthe feedback sessions elicitpafticipants discoveries, ideas,emotions, experiences, andinsights.
The process involved is actionthrough activities. Reflection isthrough feedback and synthesis.However, the reflection cangraduate to action through whatthey intend or plan to do after theirdiscoveries. [€t them surfacethese plans or intentions.
4. Those who touch the part ofthe body being touched by thefacilitator instead of the onebeing called out will becomethe facilitator or IT.
fips for Facilitation
O Extend the game by askingthe pafticipants to touch thatpaft of the body which:
- they like most/don't like(group according to samebody parts)
- they often touch (groupaccordingly)
- they seldom touch (groupaccordingly)
- they have not touched(group accorciingly)
- is in pain (groupaccordingly)
Feedback Gathering(l O mins.)
Ask the participants:
- What did you discover aboutyourself?
B" THEME:
What do you think €ue thereasons behind thesestatements (of discoveries)?
LIPUNAN
(5O mins.)
Panlalake - Pambabae
Objective:
Realize how we as part of societydifferentiate gender roles.
Materials:
Manila paper, pentel pens (2)
Procedure:
l. Divide the pafticipants intotwo groups.
..
2. trach group forms a parallelline in front of a Manila paper.
llach gfoup is given a pentelJ)en.
When facilitator says "Cro"l'layer No. I writes a trait orrole or a{ective, passes the1>entel pen to Player No.2 whowrites another, passes it on tol'layer No.5 and so on downI he line.
After the game, let paltici-g>ants sit down and analyzet heir answers. Facilitatorwrites "Panlalake" under "Pam-I>abae" colurnn. Ask which ad-
.lectives or attributes can applylo both men and women.
Analyze the result. Maybe allwords will be crossed outcxcept the biological dif-f erence and words which con-rrote relationship (e.g. sister,l>rother, mother, father, etc).
Now ask:What then is the differencel>etween a man and woman?What then is common to bothof them?
Objective:
Discover how culture influencesone's perception of gender.
Materials:
Copies of "Fantasya ni Eba,"(See Apendix 5, pp. 125-124)
Procedure:
l. Give each pafticipant a copyof Fantasya ni Eba,
2, l-et each participant read apaft until everybody has readat least one part.
5. Lrct them reflect on what theyread.
4, Lret them surface their feel-ings, insights, etc... Facilitatormay ask "What do you think issaid about women"?
Kasi Babae
(45 min.)
Objective:
Bring up the different rolesdesignated to women.
Procedure:
I. I.et the participants standside by side, keeping acomfoftable space not so n eNnor so far from each oth er (2 -
arns length apart) .
1
fl
fr
/
Mga Katangiant ra its/ro I e s/adj ecti ves
ng Babae
Mga Katangiantra its/ro I e s/adj ecti ves
ng LalakeC. THEME:
KWTURA
( I hr. & 15 mins.)
l'\tttlasya ni Eba
1,1( ) rrrllrs. )
2, Motivate them to think of theirpast (Kahapon), the thingsthey did -kasi babae sila."
Iet them select one action orexperience. Move this with adialogue. Iet everybody moveand deliver a dialogue at theszune time.
Shout 'freezel"; tap onepafticipant and say "Action!Dialogl trreezel" Tap anotherone until everybody is given achance to show her Kahapon,
lret them think of the present(Ngayon). Follow sarneprocess as above.
Think of tomorrow -Bukas.Repeat steps 5 and 4.
I'et each pafticipant show herKahapon, Ngayon at Bukas inthat order.
Provide short feedbackgathering.
What common experiences dowe share?What can you say aboutwomen in the course of time?
D. WHATISA BOY?WHATISA GIRL?
(45 mins.)
Objective:
Synthesize all the learnings anddiscoveries from the previousactivities.
Materials:
'What is a Boy? What is a Cirl?"Appropriate background music.
Procedure:
l. Facilitator puts on "What is aBoy? What is a Cirl?" slideswith background music.
2. The lFoup watches slidessilently.
7.
B.
'2
V. SHOKT RECAPOF DAY I30-45 mins.
()f{ectives:
t'rovide recaP activitY for DaY l.
A. Quick Keactions
Objective:
Surface most imPortant learningsof the first day.
Materials:
Written Flow Chaftof Activities of DaY IQuestions written on PaPer'
I'rocedure:
I . Ask the grouP to jog in circle.Shout 'Freezel" and ask themto grouP themselvesaccording to a glven nutnberof peoPle. TheY then formsmaller circles.
The one without a gouP willbe given a piece of PaPerwhere a question is written.Then she reads the question.
Questions to be asked:O Which activity did You eqioy
most?O Which activitY gave You a new
learning?O Which activitY helPed You to
discover Yourself?O Which activitY made You
appreciate other PeoPle?O What factors facilitated Your
learning?O What factors hindered Your
learning?
The questions are answeredone at a time,
5. Ask particiPants to share theiranswers with nulnbers of theirsubgrouPs, thus discoveringsimilarities and differences.
4. The one asking question willnow point to a gouP and thegouP Pointed out shouts,mimes, or acts out theiranswers. Call out all smallgrouPs.
5. Repeat StePs I to 4 for allgrouPs.
After asking all the questions,present the agenda for DaY Iand give a short sYnthesis ofthe day.
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l|))n)v ")llvlrrir)J & brings to the surface the various structures that
dictate the role of women. It also focuses on thecritical analysis of these structures. The facilitator,therefore, should bring up the following structuresclearly during Feedback Gathering and Synthesis:
Family, Peers, ?lace of work;Education;Church andMedia.
The facilitator must have a good grasp of thesestructures.
Use mainly dramatic improvisation and othercreative activities. The series of activities for thesecond half of the day' s module are so related thatthe first exercise graduates to the next. This wholechunk may take the rest of the morning.
Though the output should give moreimpottance on tl^e content, the facilitator shouldalso draw attention to the artistic forms usedthrough incidental pointers. Content and artistry,aft,erall, can blend well and the groups should strivefor this combination.
OBJBCTIVES FOR TTIE DAY:
Diagnose how participants perceive and react todifferent woman characters and situations.
Provide a venue for'the participants to discoverthe various roles of women and analyze howstructures affect or dictate such roles.,o- bel Urtlt.rv,hai- qia",^dt*"-*o' l-.,w man
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2.
A. LIMBEKING EXEKCISEOK A PTIYSICAL GAME
(5O mins.)
(Dbf ectlve:
f 'rr:l)are the participants physicallyf or I he activities of the day.
l'r'oc€dure:
| , Ask the participants to form ablg circle, providing adequatespace clearance between eachother for sideward movementsof arms and legs.
Demonstrate each exerciseas you call out theinstructions.
Ask the participants to do theexercise all together.
TAMA NA !I BANGEXERCISESNAMAN.
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Warm-up:Standing Position
l. IIEAD/NECK. Thrustforward, sideward, bacls,trard,rotate.
2. SHOULDERS. Thrust forward,backurard, up and down.
3. ARMS. Thrust forward, rotatesimultaneously clockwise,then the opposite direction.
4, ELBOWS. Extend Eums tothe sides in T-position, thenbend elbows with palms uP,facing inward towards theface; then palms facing frontwhile back of hands face thetorso.
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5
I. OPENING ACTIVITIES
50 mins.The opening activities include:
O Limbering Exercise or aPhysical Game
O Introduction to Day 2
The opening activities of eachday usually provides the neededtone/mood or attitude throughspirit and body building exercises.
Usually physical, theseactivities will awaken thebody and senses of thepafticipants to prepare for theday's activities.
A very short recap ofDay I and a Sharing of theagenda for Day 2 will helppafticipants see in a wholisticway the relationship betweenthe various activities arrclexercises.
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5. UPPtrR TRU|IK. TWist uppertrunk by bending from thewaist flat forward and thenbounce. Bend forward fromwaist up and touch the floorwith hands (l count), thenbounce trunk between thighs(2 counts).
LOWER TRUIYK. Rotate hips insmall and big circles, cloclr-wise then counterclockwise.
KNELS. Put knees together,bend a little then rotate themclockwise and then counter-clockwise... Open legs andbending the knees a littlerotate each outward... Putback knees together thensquat, resting the head on theknees. With head resting onthe knees, slowly straightenup legs... Put knees togetherthen squat clasping hands atthe back of the ankles andrest head on the knees; thenslowly straighten up.
ANKLF-,.S. "Rock the boat" bypointing toes and then flexing
them left and right. Rotate theankles.
JUMPINQ JACK. Jump tospread legs, simultaneouslyclapping outstretched armsoverhead.
STATIONARY RUN. Jog inplace with the legs alternatelykicking forward thenbackward, left then right.
9.
lo.
7.
B. INTRODUCTIONTO DAY 2
TAI{ING OFF FROM DAY I
With the pafticipants, recallthat yesterday, we looked intoourselves as women. Today, tellthem that we will widen ourvision. We will meet other womenas well as know the structures thatdefine our roles in society and,therefore, affect our lives.
II. STRUCTUKESTHAT DICTATETTIE ROLE OF WOMEN
IUGA TAUNAIYG BABAE
2 hrs.As a prelude to the
ldentification of the structuresthat dictate the roles of womer, ?recognition of the different typesof women characters islmperative, The participantsshall, therefore, mimic orlmitate various womencharacter types most familiarto them and thereafter re-enactsltuations involving thesecharacters. The pafticipantsshall do these throughrneartingful games art<l
exercises that end with asynthesis of discoveries.
The activities are as follows:
O Pre-Exercise t "Damitan tvloAko"(5O mins.)
Reaction through Sound,Movement and Dialogue(5O mins.)
Deepening: Isang Araw SaBuhay n9,,.(4O mins,)
Feedback Cathering andSynthesis(2O mins.)
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A. PKE-EXERCISE:DAPTITAN IITO AKO
(5O mins.)
Objective:
Identify different womancharacters through costumeimprovisations and dialogueinteraction.
Materials:
4 sets of materials for costumeimprovisations (towel, curtairs,blanket, books, sticks, shoes,bags, umbrella, hats, clothingmaterials, jackets, broom, boxes,or any material which can be used)
Procedure:
l. Divide the gfoup into 4 smallsubgroups. Cive eachsubgroup a particular spacewhere they could see theothers,
lr,t the tFoups select theirown models ( I for each
O AYAN !\LYDIA
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MAKO NsENSYA
Some characters which can becalled out:
Biblical CharacterMaryEveSlav'eMagdalene
Historical CharacterGabriela SilangKatulong ng PrayleBeataAsawa ng Magsasaka
Go ntem po ra ry cha racte rManggagawaGuroSecretaryCory Aquino
group). Cet another one fromeach group to be part of thepanel ofjudges.
3. Cive each goup a box of oldclothes, sticks, brooms, hats,bags, shoes and other objectsoooM
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which they can use for cos-tume improvisation. Remem-ber to have at least the satnenumber and kind of objects ineach box (4 boxes).
Call out women charactersand ask the goups to dressup their respective models torepresent the women charac-ters you narned/called by thefacilitator. The model posessuggestive of the charactershe is depicting. (e.g. kneel-ing, sitting, praylng, mourning,working, etc.). The nearestpicture of the character to theoriginat will be declared "thewoman" by the panel ofjudges.
Expand the exercise andproceed as follows.
I ). The other members ofthe goup poftraycharacters around themodel to better projectthe essence of the maincharacter or model. Askthe characters to pose.
Tap each 'frozen"character (except themodel). When tapped, acharacter says a lineexpressing her reactionto the character modelor to the situationpresented in the picture.
Repeat the earlier steps 2to 5 times.
B. KEACTIONTTilKOUGTISOI.JND.MOVEMENTANDDIALOGI.JE
(5O mins.)
Objective:
Surface stereotype reactions tovarious situations.
Materials:
Suggested characters in pieces ofpaPer
Procedure:
l. Using the szune Spouping asin the pre-exercise let eachgroup draw out a piece ofpaper from zrrnong the rolledpieces of paper prePzued bythe facilitator. Some sugges-tions which could be writtenin these pieces of paper:
- Woman worker harassed- Battered housewife
HostessRape victimCommercial modelOld woman beggingPregnant motherDevoted lady in prayerWoman - farmer
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2. Each group sculpts anddresses up their model torepresent the character whichthe group drew-out. Themodel now tries toconcentrate and composesome lines coming from thethoughts and experiences(a la monologue) of thecharacter they are poftraying.
The whole assemblysurTounds the four characters.trach character delivers hershort monologue. Aftereach character's monologue,pafticipants react throughmovement, sound, dialogue,
3.
2.
5.
C. DEEPENIIIIG:ISAIYG ARAWsA BUNAY
(4O mins.)
Objective:
ldentify the different structuresthat dictate the role of women.
Materials:
Workplaces written on pieces ofpaPerAs needed by pafticipants
Procedure:
Facilitator prepares smallpieces of rolled paper. Oneach paper a specific workplace is written:
- home- school- adveftising
agencies(i.
officech urchhospital
factory 7 '
televisionfield, etc...
Ask each pafticipant to drawout a piece of rolled paper.She creates the characterbased on the place of workwritten on the paper shedraws out. Participant dressesup like this character. Cathersome props that wilf help herdefine and act out thecharacter better.
Facilitator now gives amovement exercise involvingthe character. Pafticipants dothe various actions andactivities of their respectivecharacters at different hoursof the day, from waking upto sleeping.
Motivate pafticipants to talk asthey do their characters'activities. Ventilate their
characters' thoughts throughwords and dialogues. Tellthem they can talk tothemselves.
At some points, call out"Freeze." Then tap someoneto act out her character anddeliver her lines. Then ask theactress to freeze.
Tap another one and thenanother until everyone hasdemonstrated her activitY anddelivered her lines.
Expand the exercise. L€t eachcharacter try to find ways torelate to other characters.This will lead to building uPa scene.
Again let these be a freeze-action moment. As everybodYfreezes, point out and askeach member to enact herscene.
9. Repeat the process until eachgroup has been given focus.
l O. End the exercise with a grouP-centering activity. Cive thema Relaxation Exercise: inhale,exhale , relax.
D. FEEDBACKGATHEKINGANDSYNTHESIS
(2O mins.)
In gathering feedback frornthe participants to lead them to asynthesis of the precedingactivities, ask the followingq uestions:
- How did you feel about thewhole exercise?
- What were your di.scoveries?- How Cid your character react
given different situations? Why?- What dictated such reactions or
roles?
Focus oI7:
O Resources of womenO StructuresO Human Dignity
5
B.
ru. ANALYSIS OF THESTRUCTURES
The following activities aredevised to bring out and presentcreatively the participants' analysisof the structures that dictate therole of wofil€n:
O Pre-Exercise: Paramihan ng.,,(2O mins.)
O Study Croups( I hour & 50 mins.)
O Plenary Session( l5 mins.)
O Clearing l-louse Portion( l5 mins.)
This whole module needsconstant monitoring on the partof the facilitator. The initialgame (Paramihan) ushers themood for creation. This alsoserves as a pre-exercise forthe required creative sharing ofinsights during the study groupsession.
During the study groupssession facilitators may divideamong themselves which groupsthey would closely monitor andmotivate.
It is important that thefacilitators fully discuss thismodule and make sureassumptions for possiblequestions or guidance needed tomake this module productive andrelevant are clarified. Materials tobe used like the textbooks andcommercial ads should be givencareful study and discussionbefore giving the exercise.
Give instructions one at atime.
If the participants have todiscuss and bring up importantpoints that need to be dram atized,give the instructions on thediscussion first. When they havesurfaced important points theninstruct them about drarpaticimprovisation. Keep themworking within a time frame.The last module may take thewhole afternoon.
A. PARAIVIIIIANNG.OO
(5O mins.)
0lrjectives:
Bring out spontaneously asmany answers to specificstimulus which rePresent thedifferent structures.
Buif d a team through fun /PlaYactivities.
I'rocedure:
Using the same grouPingask each grouP to giveshort instant improvisationsof "paramihan n9..."
. (complete with movementand dialogue).
Parami han ng Commerci alParamihan ng tleadl inesParamihan ng Panalangin or
2.
DevotionParamihan ng Church Kitual
Start with one (e.g.commercial) given. Asyou point out a group, thegroup gives their commercialjingle at the count of 5. lf theYfail to do so they areeliminated. No repetition ofcommercials is allowed. Theone who repeats iseliminated. The last to staYlongest is the winner. Thenproceed to the otherpznamihan items.
Cather short feedbacks. Vvhatis your personal view aboutthe different contents(commercial, news headline,devotion and rituals) of ourexercise? trlicit a littlediscussion.
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B. STUDY GKOI.JPS
(l hour & 50 mins.)
Objectives:
Analyze how structures affect/dictate the role of women.
Form ulate statements tosummari ze findings.
Share these statementsthrough a most appropri ate,creative way,
Materials:
Text books on any of the following:Philippi ne Culture, Literature,Prose and Poetry, Fairy tales, etc.
Tabloids, newspapers, m agazines
Procedure:
I . Divide the participants into I .
four subgroups. l-et themanalyze through groupdiscussion the etructure andquestions assigned to them.(45 mins. )
Note:Everybody must participateactively in the discussion.Share your (facilitator's)insights as you find the need.
2, The subgroups proceed toforrnulate one or two
statements which summ arizetheir group findings andanalysis. ( l5 mins. )
5. Each group improvisescreatively and appropriatelyin presenting their statements.(5O mins.)
E,g.: Subgroup on Educationcan present throughpoetry-drama;
Media group, throughlampoon of films andcommercials. Or theymay create their owncommercials throughsalin-awit (translation ofsongs)
There are so many waysl
STUDY GROUPS ON ThItr F'OURSTRUCTURES:
F'AMILY /PtrER:Ang lrlga Babae sa itingPaligidO Who are the women in
our house?Among our peers orfriends?What can you say aboutthem?How does being awoman affect their hour-to-hour existenceWhat can you say aboutthe womalr, I lre homeatrcl the f:trttily'/
,2 PI,ACE OF'WORK
Who are the women inour place of work?What can you say aboutthem?How does being awoman affect their hour-to-hour existence?How does this affect theiradvancement?
EDUCATION
Book Analysis
Get a book and look forpafts of the bookdiscriminatory towomen? Why?Share stories, myths,fairy tales learned athome or in school thatdeveloped consciously orsubconsciously gender -
conditioning.How do these text affectwomen's role?What can you say aboutwomen and education'?
THE CHURCH
O Analyze the variouschurch practicesprayers, devotions, andrituals. How do theypromote discrimi nationagainst women?What can you say aboutthe Church's role in
society and vis-a-viswomanhood?
MEDIA
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Cet newspapers andmagazines . [,ook atthe headlines and theadveftisements.What can you say aboutthem?How do the mediacontribute to thedictation of women's rolein society?What do you feel aboutthat?
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3.
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C. PLENAKYSESSION.SHAIIING OFSTATEITIENTSANDPKODUCTIONWER
(15 mins.)
The Plenary Session isvisual climax of the resultsstudies. Make this alive andexciting. Facilltator can actemcee-an notator.
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f), CLEARING HOUSE PORTION:HANGTNG QUnsTroNs,ANSWEKS. COMMENTS FROIITGROUP TO GKOUP
(15 rnins.)
In the Clearing Houseportion, groups can give insights,comments on their group's orother groups' output. Hangingquestions could be written anddropped in a box and drawn out sothat everybody has her own idea
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or answer to the questionsraised.
t€t important statementscome from the participants. Helpdraw out these statements fromthem. And finally, in allinstances, enjoy the more creativesem i-academic exercise.
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impoftant learn ings theylearned in Day 2.
Instruct them to paste theirpaper on the board and puttogether the similar ones.Then point out the itemthat constitutes the biggestlearning point among thepafticipants, then the least.
Segue from these l-e,arningPoints for topics in DAY 2 toDAY 5 Flow of Activities.Cive them extra words onchallenge and attitudes forDAY 5.
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End th,e session with ameditative activityaccompanied by softAsk pafticipants to bemost relaxed position.
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IV. RECAY OF DAY 2
30 mins.()b jectives:
I . ldentify the most and leastimpoftant learnings of theday.
.t.. ?repare oneself for thesucceeding activities.
Fl:r teri al s:
| 'f r rw of Activities for DAY 2 and
l)n Y 5. Bond paper, pentel pens| )t ('r'ayons.
I't r)ced ure:
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IVIAGANDA/ l:=:,
)Daty 3J is a synthesis of the previous workshopprocesses and contents. lt focuses on CilANGE ANDTIIE WOMAN. The take-off point is the oppression/repression experienced by womell. The need forchange to free the woman from oppression shall thenbe emphasized.
The facilitator needs to be sensitive to the variouspersonal sharing, especially in the BREAKING OFREPRESSIONS, tlandle this session with an open mindand an objective hefi. Be supportive of theparticipants as they share their problems. On theother hand, the Body-Totrch activities and someIlealing processes need centering and specialmotivation from the facilitator.
Finally, give emphasis on what the participantscan do after this workshop and how they can helpeach other pursue women's issues.
OBJECTTVES FOR THE DAY
Guide the participants through the process ofidentifying how the gender problem manifest intheir lives.
Guide them on what they can do to break thecycle of gender subordination.
Provide a tool for the participants to identify theiragenda for change.
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2.
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3.
tltlrl.should avoid making generalst atements but allow participantsIt> do so.
TINTANGLEPIENT
Objective:
| )eveloP sensitivity and a sense of(:()operation and unitY.
J'rocedure:
t€t the ParticiPants stand sideby side in one row, each oneclasping a hand of the Personnext to her.
Ask the Person on one end ofthe row to act as the leader'Tetl her to start weavingthrough her co-ParticiPants -between them, E[ound them,under their legs -
qnfil she is
able to reach out for the handof the Person on the otherend of the row.
Ask everyone to follow theleader, keePing their handsheld together such that a
honendous tangle results'
Ask the PafticiPants to worktowards the objectives of thegame, which is to unravel tltesnarl and end uP in a circlewithout re-clasPing hands'
l.
I. OPENING ACTIVITIES
A. LIIUBEKINGEXEKCISESSame as in Day 2
( l5 mins.)
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DYNAMICS
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B. GKOUP
( I hr.)
Objective:
Make participants aware ofthe impoftance of team-building to facilitate goupprocess.
This series of exerciseswill help build trust andteamwork. Continuously motivatepafticipants to stick to the rules ofthe game so that the games aremaximized,
Croup Dynamics for the dayconsist of the following activities:O Entanglement
( l5 mins. )
Trust Fall( l5 mins.)
Lifting and Rocking(15 mins.)
Feedback Cathering(15 mins.)
There can be only onefeedbackgatheri ng session, butmake it more pafticipatory ancl lcteach pafticipant freely sharc theirself-discoveries. l'at.ilit :tt ol's
TKUST FALL
Objective:
Develop a sense of trust among co-pafticipants.
Procedure:
Form goups of 5 to 7pafticipants each. Ask themembers of each group tostand in a circle and spreadthe smaller ones among themevenly around the circle.
Tell one person to move tothe center and cross her arTnsin front of her chest.
Ask the person at the centerto close her eyes whilekeeping the body straight andher ankles relaxed. Tell herthat she is supposed to beginlater by "falling and swaytng"to one side, feet and kneesstraight together. The groupmember on that side wherethe center person "falls" willprop her up back to centerposition. There after, thecenter person will sway toanother side, and thenanother, each time with amember of the grouppropping her up back tocenter position.
Instruct others in the circleto move up towards thisperson and hold her lightlywith their hands for a while.
Tell them to place one footforward and the otherbehind. If they do this, theycan hold up quite a lot ofweight even if they Ne notphysically strong.
Ask the person at the centerto start "falling."
Encourage the otherparticipants to pass the centerperson around or across thecircle,
Ask the pafticipants toincrease the size of the circlegradually as the gameprogresses; continue passingthe person for some time...and then slowly reduce thesize of the circle. Tellpafticipants to end by holdingthe person again for awhile,and as they do, everybodyhums softly.
End with 'Lifting andRocking, " the exercise thatfollows. (Optional)
Give everyone in the circle thechance to become the centerPerson.
After the experience, sitdown together and leteach pafticipant tell herexperience as center personand what she has noticedabout the others. Take aboutten minutes to sh:ur:ex perien ces.
I,IFTING AND ROCKING
(.THIS EXERCISE MAY BE DONE TO
I1ND THE PKECEDINC TRUST F'ALL()R IT TV1AY BE TAKEN AS AN
INT I RELY SEPARATE trXtrRCISE. )
ObJective:
l)evelop a sense of trust.
I'rocedure:
| . Form gouPs of 7 to 9particiPants each. Ask eachgrouP to form a circle and themembers to keeP absolutesilence during the exercise.
Ask a volunteer, someonewho wants to be lifted androcked, to move to the centerof the circle. Tell her to foldand interlock her alTns acrossthe chest, and to close hereyes,
Tell everyone else to move uP
to the person at the centerand place their hands on her,holding her gentlY for a while.Those particiPants ofmoderate strength shouldmerely stand directlY behindthe person at the center, whilethe stronger ones shouldposition themselves on either
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side of her. The person atthe center should relax andyet keep her body fairlystraight.
Instruct the participants totip the person at the centerslowly backwards to lyingposition, holding herhorizontally, with their handsand arms under her. Thesmaller ones behind hercradle her head, while thestronger ones on each sidesupport the chest and back.Others have to hold up thehips and legs.
Ask the pafticipants to beginrocking the person slowlyback and fofth, or around, asif rocking a baby, withoutmoving their feet. Tell thenrto hum together softly as thisexercise is done. Continuefor a while.
lf the person at the center isnot too big for the others,rock her at several levels.trrom the original positior,ask the supportingpafticipants to slowly lift herup, until she rocks way abovetheir heads (supported bytheir hands stretchedoverhead). Give the person atthe center a rock at that level
for awhile and then slowlylower her (as she is beingrocked) towards floor level.Be sure that while rocking sheis kept at a level position toprevent her from tilting.Gradually slow down therocking as floor is reached.When the person reachesthe floor, she keeps stilland does not realize that sheis lying on the floor.Afterwards, ask suppoftingpafticipants to remove theirhands from the body of thewoman slowly and gently.lrct her stay resting on thefloor undisturbed untilsuch time when she opensher eyes.
L,et as many pafticipantsexperience the rocking.
After the experience, sitdown together and leteach pafticipant tell herexperience as "center baby"and what she noticed aboutthe others. Take about I Ominutes to shareexperiences. Were theremoments of fear andapprehensions? Why?What could be positive aswell as negative abouttrust? How will youpersonally reconcile this?.
I
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5.
7,
The module consists of thefollowing activities:
A. "Tunggalian sa Buhay ng Babae"
O Pre-Exercise:Samson and Delilah
(lO mins.)Out-Balancing
(l O mins.)
O Verbal ConflictJog freeze
( l5 mins.)Verbal pairs
(55 mins.)
Breaking Repression(l hour)
:i
II. CHANGERESOLUTION AND PLANNING
The following exercises andircti vities are action-oriented aswell as verbally and emotionallyladen. The sensitivity of thelacilitator to make the exercisestneaningful for all is necessary.lle sensitive about breaking Pointsand handle these moments notnecessarily with words but morewith comforting actions, [,et themf eel that you're behind them in alllhese exercises. Reduce stressllrrough breathing and toning down(:xercises.
()lr.jective:
lrk:rrtify the mcaniltsl of collflict:ut(l its differcttl t.y1rt:.s: plt.ysi<:ztl
.ur(l vt:l'lral.
B.
'lC. Croup Healing
( l5 mins,)
D. I{eta plan(5O min.)
This module is memorableboth for the pafticipants andfacilitator alike. Cany on! You'regreat!
Procedure:
l. Divide the group into two.
VNRBAL CONFLICT.fog-P'teeze
( lO mins.)
()b.f ectives:
I , Release through dialogueI m pro vizations varioussltuations in conflict.
'l , Develop sensitivitY throughllstening.
l'rocedure:
| . Ask the gouP to form a circleand maintain it as theYiogaround the room'
'2. After a round of ioggng, signal'freezg," At random, choosetwo or three PafticiPants to goto the center and createspontaneously a situation
wherein they are in conflict.Tetl them to express thisconflict through an exchangeof words,
5. Tell them that as theirverbal exchange progresses,the whos, whats, wheres,whens, and whys of thesituation should develoP.Remind whoever shall staftto drop key words that willquickly suggest to herpartner the situation thatshe has in mind as well astheir relationship. ExamPle:When she asks 'Ate, bakitmo ginamit i ry saPatos ko?",the actress immediatelYdefines the relaticlnshiPbetween the charactersengaged in the dialogue aswell as the source of theirconflict.
l.
2,
Each goup agrees on thecharacter to portray. The twogroups form 2lines facingeach other.
When the facilitator shouts:"Lightsl Cameral Action l" , thetwo goups face each otherwith their corTespondingsound and action.
Pre-Exercise:OUT-BALANCING
(l O mins.)
Procedure:
Divide the group by pairs,members of which are moreor less equal in physicalstrength.
Ask the pairs to stand withtheir feet close together,facing each other half ameter apart. Tell themthat their objective is totry to push-outbalance theirre'spective partners. In thisgame, a person shall beconsidered outbalancedwhen she moves or shiftspositon of even only onefoot,
Cive signal for the pairs tostart pushing each other.
A. TUNGGALIANSA BUIIAYNG BABAE
Objective:
To make theessense andconflict.
pafticipants feel thesensation of physical
?re-Exercise:SAMSON AND DELILATI
(l O mins.)
Recall the story of Samsonand Delilah with the participants.?aitic'ipants shall then assignch aracteristic movements andsound for the characters Samson,Delilah and the Lion. The rule ofthe game is like that one for Jacken Poy:
Samson beats the lion.Lion beats Delilah.Delilah wins over Samson.
5,
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Tell the actresses that theydon't have to resolve theirconflict in this exercise.
ffier the pair or group isthrough with their verbalexchange, call them backinto the circle to join therest in joggrng aroundagain.
6, Do this until everybody hasexperienced the exercise.
Facilitation fips:
l. Don't give too much time foreach goup to create asituation.
2. Constantly remind themto listen to cues that willhelp them develop the pointor situation they want toPUrSUe.
Create an atmosphere of funand treat this as a game.
4, lf a goup can't create asituation, call them back atonce into the circle and tapanother pair.
5. If in some instances, someparticipants would like to joinin the improvization, allowthem.
VERBAL CONFLICTVerbal Pairs
(5O mins.)
Objective:
Identify gender problems whichmanifest in one's life,
Procedure:
l. Ask the pafticipants to get apaftner whom they haven'tbeen paired with yet.
Hand out rolled pieces ofpaper. Ask each pair to pickone.
The following uue the issuesthat may be written in therolled pieces of pap€r:
. household economics' health czue. division of laboro ehild rearing. household
responsibilities. kind of schooling for
children. labor migration. how to spend a weekend
or a vacationo rapid economic change. friends, gangmates' sex
The pair decides who they are;where they dre; what they Nearguing about, Allow norehearsal but just a shottdiscussion.
Ask the pair to face eachother and look at each other'seyes. Motivate them todevelop tension so that theirarguments may belogical, meani ngful anddynamic. When the facilitatorshouts "Actionl Dialogl", amember of the pair stafts theargument. The pair will onlystop their argument when theYfeel they want to use physicalvlolence. All the pairs in the$roups argue sim ultaneously.
llt a circle, each pair nowrlt:monstrates to the wholegrotrp their verbal corlflict.
6. Encourage analysis ofcharacter, situation,development and resolutionsof conflict from listeners.
Guide Questions:
O How do you feel about thedifferent issues whichsurfaced during the verbalpairs?What can you say about thecharacters and situationswhich surfaced in the aboveexercise?tlow did the various conflictsdevelop?What resolutions were madeor how did they end?If you have time for yourself,what will you do?
o
o5
42.5.
l. Share and reenact the mostre pre ssed/o p presse d gen dersituation one hasexperienced.
Break one's repression bydoing the things she plannedto do then throughdramatization.
B. BREAKINGREPKESSION
(l hr. & 50 mins.)
Objectives:
ANG AtrlAX MoF{INDI MO
PTNAPAKA|Nf MONGPtNAtr.Al-o!'
6USrOMO N6A\^/AYV
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Procedure:
Ask the pafticipants to goto the person she is mostcomfoftable with. (Untilthere are 5 women in thestrouP).
As an introduction forreflection, tell them that thereare times in the life of awoman (as a wife, a mother,or a sister) when sheexperiences a non-physicaltype of violence, a totaloppression where she isunable to answer back orexplain her side.
Example:"Yly husband always tells methat I should stay at home andthat I need not joincom m u n ity organ ization s.Dito na lang ako sa bahay atalagaan ko ang mga bata.., orhe says: ITindi mo namankailangan ang mga yan -ditoka na lang sa bahay, mag-alaga ng mga bata. Sa kusinaka na lang tutal ang babae aydapat sa bahay lamang, sakusina at sa kama"'
Now ask them to recallan incident where theywere placed in a similarsituation. Share this to theother members of thegroup. Add details likewhen, where, why andhow it happened and whatshe felt then.
After everybody in the gouphas shared her experience,the group will now chooseonly one oppressive situation.
This experience will be shownin a short dramatic re-enactment. The woman whoshared the experience willportray herself but this timeshe has the chance to answerback or be able to explainherself to break therepression. She can now dothe things she planned to dothen but was not able to do.Other members of the groupwill play other charactersinvolved in the situation.
If time perrnits, they can dotwo or three other re-enactments based on theother women's experiences.Go through the same process.
Before the group presentation,the facilitator tells the groupto "freeze". Facilitatorreminds them to concentrateand motivates them to thinkand feel as the charactersthey are to portray.
During the plenary session,each gfoup presents theirshort improvization. Aftereverybody has presented thcirshoft dramatic re-enactme nl s,gather the group in a circk:and encourage them tosurface how t hey feel,s[)et i:tll.y tltrlsr: wJt<).s(:
ex periences whe re re<,nactedand whose "rePressions werebroken,"
(luide Questions:
O Ano ang inyong naramdamannoon nagsi-sharing?Noong nagPaPalabas na?Nahihiya ba kaYo o biglangnabura ang hiraP ninYoT
O Ano ang point ng exercise?Bakit natin ginagawa ito?
Ano ang inyong discovery?
Oumaan ba ang inYongkalooban nang nadinig ninYoang problema ng iba?
Bakit mo nasabi na hindi ma-bigat o masyadong mabigatT
For synthesis, facilitatorencourages pafticl Pants tobreak their rePressions. Butthis means trying and doingthe breakaway in real life.
5.
6.
7.
B.3.
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C. GROI.JPHEALING
(15 mins.)
Objectives:
l. Affirm each other's strength.
Share one's realization afterthe "Breaking of Repression"activity.
Procedure:
l. Everybody goes back to herprevious grouping.Each individual gives heradvice, wish or message ofassurance to others.
2. The person being given"healing" or love messagesshall say her realization orwhat she wants to do.
oo
8[[EN0sYHEALINGGOI NG ON
6o
NATIN!"(TUETAPLAN)
l.2.
30 mins,How do we go back (re-
r:nter) to our place of work, familY,Irome, communitY, etc. now thatwe have acquired a ner,v Pair oft:yes?
Coing back to realitYafter an emotional highpoint in a workshoP needspr€paration. There is a need torlraw out from the PafticiPantswhere they are now, howr:quipped their senses are andhow they will re-enter the realworld, carrying out what theY'veplanned without stepPing on otherlrcople's toes or shocking them.
Again, sensitivitY to thepartlcipants are needed nowr:specially if theY have torrpl>ly the new learnings in the realw<lrld.
The facilitator should insPirellrr: 1>articipants to make their firmr r:solve and devise ways bY which
they czul get inspiration from eachother.
Agai n, congratulations I
Objective:
Plan concrete agenda forchange in any of the following:self, family, place of work,community, etc.
Materials:
Manila paper, Pentel Pens
Procedure:
l. Each palticiPant writessimultaeously her agenda forchange on the manila PaPerpasted on the wall.
Croup together similaranswers.
Synth esize the activitY bY
sharing WIIAT IS TO BEDONET Program for AdvoacYby Ms. Ellen Dionisio. (See
Appen dix 7 , PP l5l -154).
l.
2.
3.
2.
3.
D.''NIAGAGAWA ilI. Plenary SessionsPAGBABALIK(Ke,entry)
(45 mins.)
Objectives:
ldentify the system whichneeds change.
2. Present an ideal situation or avision of an ideal systemwhich is non-sexist throughcreati ve i mp rovizati on s.
Materials:
Pieces of paper, pentel pens,crayons
Procedure:
Each one is given a strip ofpaper. Ask pafticipants towrite on that strip z "Kungmagoon tayong gustongbaguhin na kalakaran bilangmga babae, ano ito?"
Pafticipants paste similaranswers under one column.
They then choose whichcolumn of resolutions most ofthem would like to carry out.
Each group presents an idealsituation through drama, son(1,poct r.y, r:l <,.
I
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fV. EVALUATIONMODULE
I hr.This final module aims to
provide a tool to evaluate the J-dayworkshop.
Objectives:
Evaluate the content andmethodologies used in theworkshop.
Assess the participation of co-pafticipants.
Confirrn one's gotvth as awoman.
4, Affirm each other's strengthsand mimim ize weaknessesdiscovered in the J-dayworkshop.
Materials:
Worlsshop Obj ective ChartDay l-2-3 Flow of ActivitiesEvaluation Form
Procedure:
I , Present the workshopobjectives defined during thefirst day. Present also the flowof activities. Facilitator can
come up with visual-images ofthe flow of topics and howthey are related to one big vi-sion. Presenting the work-shop through a visual image(e.9. a ship sailing) will helPparticipants view it in its total-ity and not merely insegments.
Give them the EvaluationForm (see Appendix 8, PP.155-l4O). Cive them time toEUlSWer.
Cather them in a circle andask them to put their sheetsof paper at the center one at atime. While each one is doingthis, the person should say inone complete shott sentenceher feeling of growth.
When everybody is finished,ask each one to look for4-5 people in the grouP inwhom they have discoveredsomething new and likeable.Ask them to go to their
3.
2.
l.
2.
5.
GUsTo K1TAI(ASI MAG4LINEKANC MAKINIE(
sAt$A l'Al-oNcLUMIG.AVA
ANG trAM{UVAMO/
**
flsusur.AT @oooYe: sAhTA MAGKITA
?ATAvo uLt !
"chosen new friends" one beone, each time holding theother person's hands, uls theylook into the person's eyesand say 'I like you because...I hope that,,,". The co'pafticipant approached shallin turn give her own words ofaffirmations.
Co back to the circle aftereach participant hasapproached 4-S participantsto get ready for the goupmassage. All turn right andsit close to each other,reaching the back of theperson in front. Staft with
the mini-shiat-sus to rela.rreach other. After sometime turn about and dothe sarne to the one infront.
6. In the sarne circle, this timeshoulder to shoulder: ask theparticipants to cross theirzums across their chests asthey hold each other's hands.Sing - Pagbabago. After thesong raise hands and thenuums slowly, and turn aroundand finally say "Coodbyel".
WOKKSIIOP ENDS.
ParU Thr@@
AI,TERNATIVEEXEKCISES
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THIS SECTION LISTS AND EXPLAINS THEEXERCISES WHICH CAN BE USED ASSUPPLEMENTARY OR ALTEKNATIVEEXERCISES BASED ON THE FOLLOWINGTOPICS/ISSI.JES IN THE GENERAL 5-DAYSYLLABUS:
Opening ActivitiesGetting to l{now You/Unfreezing ActivitiesAttitude SettingLimbering ExercisesGender is CulturalWomen & StructuresChangeReflection & Evaluation
SPECIAL FI.JNCTIONAL EXEKCISESARE ALSO SUGGESTED:
Diagnostic ExercisesSensitivity 6r Centering Exerciseslce BreakersVarious Fora
Diagnostic exercises are given to gauge theorientational or org anizational level of the group.
Sensitivity & Centering exercises are given whenthe participants are too released or restless or whentheir energies are scattered and therefore need to becentered or focused.
Ice Breakers are given to break the monotony ofthe day or of the moment when the participants aregetting bored.
Various Fora are creative approaches usingvarious means to synthesize the whole experience.'fhese exercises hopefully can help the facilitator tryvarious approaches with the same subject or topic.Othcr exercises lrray corfre from the facilitators' own(:x l)cf ictr(.cs.
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Dugso.A Tribal dance of Higaonon tribe from Bukidnonto celebrate the light - and life - giving power of women.
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I. SOMESUPPLEMENTAKY/ALTEKNATIVEEXEKCISES F'OR THE3-DAY SYLLABUS
A. OPENINGACTIVITY
The Creed
Objective:
Provide a fitting Morning Praiseactivity.
Materials:
Handouts "The Creed"Mood Music
Procedure:
l. Qive each participant ahandout of the 'C.reed" (SeeAppendix 2, pp. l2l-122.)Note that there are l S points.
2, Ask the lpoup to form a circle.
5. Ask volunteers to read apoint. Some points could beread by 1,2,3 or 4pafticipants. Vary reading.
Tell them that the last twopoints will be read in unison.
Set the mood for prayer. lr-tthem reflect silently on thepoints. Play appropriatemusic.
At a certain point or signalfrom the facilitator, '
Participant # I begins.Follow sarne procedureuntil Participant # 15.
End by holding hands in aminute of reflection.
5.
7,
l.
2.
B. GETTING-TO-KITIOW-YOUGAIUES
Kamusta Ka - Iflabuti Naman
Objectives:
Know each other's natnes.
Release one's inhibitions.
Materials:
Chair for each participant
Procedure:
Group forms a circle. Eachparticipant sits on a chair.The facilitator, in the middle,acts as the first IT.
IT goes arourd, stops at onepafticipant and asls"Kamusta ka
-
(saysthe name)? The persongreeted answers in either oneof three ways and the groupresponds in three ways, too.
'fvlabuti naman- - each onemoves I seat to the right."
'OK lang" - everybodymoves I seat to the left.
-Plasakit ang tiyan ko" orany other answer - everybody
gabs a seat neither left norright but elsewhere in thecircle."At this point, the IT grabs achair, leaving oneparticipant without a seat.The participant without aseat becomes the IT.
3. Qame continues as facilitatorfeels the goup atmosphere.
C. ATTITI.JDE ,SETTINGEXEKCISE
Materials:
Pieces of paper cut as pafts of aPie.
Procedure:
l. [et's bake the workshopcake. What ingredientscan each one give?Ingredients such as attitudethat will make this workshopmemorable, meaningful foreveryone and successful, Ex.:A pound of sugar, coated withteamwork, milk of listeningand attention, starch ofpatience, etc...
l.
2.
Qive each participant a pieceof paper cut-out from a bigpie.
Write on the paper theingredients you will give tomake this workshop cakesuccessful.
lrct each one write and sayone by one the ingredient shewill glve, I.et them put thepieces together to make thebig pie. The pie will serve asthe goup's norTn for theduration of the workshop.
5,
'2.
O The shift from A to B leadingshould not be distinct andobvious. The mirroring shouldbecome one flowingmovement.
Limbering Exercise
Procedure:
Ask the pafticipants to form 5lines facing the facilitator.
The facilitator instructs thepafticipants as she /hedemonstrates the followi ng:
- f nhale/exhaleRotate fingers, hands,elbows, shouldersRotate eyeballs (ceiling,floor, left, risht)Open eyes wide, nzurow butcan seeIvlake face small/bigPout lips, chew with mouthclosedBalloon cheeksMassage face/hairPut chin on right shoulder.Rotate from right to left andreverseHand stretched on the sides,move chest left, middle,right, reverse.Bend half knee (both knees).Rotate to the right.Rotate to the left.Point toes downward and
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D. LIMBEKING EXTKCISES
MIRROKING
Objectives:
I . Sharpen one's concentration.
Prepare the body for the day'sactivities through a series ofmovement exercises.
I'rocedure:
Each participant finds apartner. Agree who is A andwho is B.
Call out A to start. A does aseries of slow movements. Bmirrors A, imitating closelyevery movement that A makes.
Facilitator calls out B to start.Without stopping to a neutralpositioh, B continues a seriesof entirely different slowmovements. It is now A'sturn to minor B'smovements.
4 Call out A, then B, and so on.
f 'rrcllltation Tips
O Motivate pafticipants to ber.rcative in their movements.'l't:ll participants to exploreol hcr levels or positions; thatlhr:y may use facialr:xlrr(:.ssions.
rotate clockwise. Thencounter clockwise.
- Bend knee fully (squat) .
Bounce.- Rock on feet.- Rock feet backward.- Rotate arTns as if swimming
(back stroke).f nh ale/exhale.Cross arms overturn around andright anlde thenankle. Do this B
A. Verbal Release
Materials:
Chalk, blackboard
Procedure:
I . Divide participants into twoteams forming two lines each7 -B meters away from theboard. Give each team a pieceof chalk.
2, Divide the board into:
GENDER RELATED OBJECTS
At the shout of "Col" the firstpafticipant in each teamwrites an object that isgender-related under eachcolumn. Pass the chal lt tothe next player who doesthe same and so otr dowlrthe line.
When the teams finish, elicitshort analysis of their answers.lf a scoring system is neededdo so.
Now shift to CENDER-REI,ATED SPACEFollow procedure as in above.
Cather some feedback aboutdiscoveries made by theparticipants during the game.
Space/Shape Studies
I't'ocedure:
I . Form a circle and teach thissong with movement
Kaming mga babae nag-iisiPKaming mga babae gumagawaKaming mga babae lagi nanghandaKahit ano puwede namingmagawa
(Refer to Waray-waray sor1g,page 5l)
),, This time the particiPants singand dance in a circle, Aftereach song the facilitatorshouts the number of Personsand objects which theY willforrn or sh ape using theirwhole body.
t1x. I person- sandok2 persons (in pairs)batya
llr 5's - apron
ln 4's - shaverIn 5"s - tricycleetc. , etc., etc.
Elicit feedback, insights, andlearning points. Ask: What canyou say about the obiects andspaces you have created?Where did you we get the ideathat certain objects or spacesare associated with specificgenders? Is this true?Relevant? Right?
Give time for short syllthesis-input:
Gender is a cultural, mentalinterpretation of sex differences andmale-female relations. Sometimesthese mental interpretations representan ideal, rather than what is actuallydone, and observable.
Whenever there are gender-based statistics, it is important to seekinformation on the relevant category ofwomen and men, be it by sector,region, ethnic group, social class, ageor any combination of thesecategories. When we use non-sexdisaggregated data, we concealreality.
trnd session with challengesby singing any song from thepreceding exercises. (Refer toDay I songp) .
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3,
the head,look atat left
times.
5
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IS CULTUKAL
3,
5.
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Team A Team B
BABAE LALAKE BABAE LALAKE
Sandok Llave Batya Makina
E. GEIITDER
Objectives:
I . Cauge the participants'perception of gender throughgames and creativeimprovisations.
2, Discover the meaning of"Qender is CultLrral,"
3, Cauge the participants levelof awareness on women'ssituation.
O GENDER-RELATEDOBJECTS/SPACE
Objective:
Share and discover one'sperception of gender through wordrelease game and creativeimprovisations.
O TTME BUDGET: PARAMIIIAN/YG GAWAIN
Objectives:
I . Enumerate all activities one 4 '
does in a day.5.
2, Survey and understand thedevelopment implication ofwomen activities.
Materials:
pieces of papercrayonsmanila papermasking tape
PYoc€dure: O
Give each participant writingmaterials. Ask each one'tolist down all the things shedoes from waking to sleepingtime. Enumerate.
When they have finrshed askthem to put the uunount oftime they spend for each.Add all the minutes/hours tofind total time for one's dailyactivities.
Qroup them into 5's or 6'sand let them share theirdiscoveries, feelings andinsights about what they havelisted. Ask them to synthesizetheir sharing by creating 2 or5 statements on Women &Time & Resources, Printthese statements on manila
paper. Post them on theboard together with theirindividual list.
Oive them time to read andview each other's work.
Plenary: Feedback Cathering.
Deepen by asking what theynoticed among the tasks oractivities of women? How doyou feel about all theseactivities? If given your freetime, how would you like tospend it? Are there anyactivities you want to do todevelop yourselP
SEX AND GENDER: TTMEMACTITNE - COSTUMEIMPROVISATTON
Objectives:
l. See women's role in the lightof society's expectationsthrough historical eppchs.
2. lmprovise situations ofwomen through dialogue andcostume i mprovisations.
A. ?re-Exercise: Movementand Dialogue
Procedure:
Participants form 5 lines.
Ask pafticipants to show lrowthe following characters w:rllt
Datu Friar TeacherDayang-dayang Spanish lady TinderaWarrior Maria Clara Urban PoorSlave Taga-bukid MaYaman
etc...
c.5. Ask participants to providedialogue as the characterswalk.
Ask pafticipants to saysomething what thesecharacters could have saidduring those days,
Provide period music ifpossible,
Costume and Scenetmprovisation
Materials:
Native costumes or blankets, scarf,towels, etc. which can beimprovised as costumes
Proced ure:
Divide group into 4. t€t eachslTrall group select one personto be dressed as a characterd uring a certain period. (Referto A2, preceding page.)
t€t the model stay in themiddle of her group. Ask theother members of the groupto each assume a character inrelation to the main character.
Ask them to move about andtry to interact with the maincharacter, one at a time,showing their relationship andtheir expectation of the maincharacter. Motivate them toconcentrate on their owncharacter.
t€t them go in a "stopgo-freeze-di alogue" proce ss
5.
It. Group Improvisation
I'rocedure:l.
2,
Divide participants into 4grouPs.
Give a specific time and place- (e.g. kitchen at I I a.m.)Everybody sim ultaneo uslymoves/acts in the given spaceand at the given time.
Ask pafticipants to providedialogue.
Cive each goup time tosynchronize action andclialogue.
As group acts out theirJ)rcse ntation, others " f(eeze."
,2
1
4
5
2,
3.
2,
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simultaneously and later onone at a time.
5. Do this for some time givingthem proper motivation toemote clearly and to usedefined dialogue. Help themcome up with naturalsituations of the period.
D. The Present
Procedure:
Cive each group a specificspace: Mindanao, Negros,Cordil lera, Katagal ugan .
Encourage partici pants tobring up specific activities ofand expectations on women,given the spaces mentioned.
Cive participants time torehearse.
Cet initial feedback: What didyou see? What were theactivities done by women?What were expected ofwomen?
O cENDER AS tr AFFEcTs TnEGENERAL SITUATION OFWOMEN.
Visual Arts Er Tableau Studies
Objective:
Express one's reactions towomen's situation through visualafts and tableau studies.
Materials:
Drawing materialsSlides: "What is a Boy? What is aCirl?"Handouts z "lle works, she works";"For every Woman"Mood Music
frocedure:
l. Present the slide show, "Whatis a Boy? What is a Girl?"Provide appropriate music. Donot follow up the viewing withany lecture or discussion.
Give each pafticipant a pieceof paper and coloringmaterials. Tell them toexpress th eir reactions to theslide show through lines,colors and shapes. Motivatethem to use as many colors,shapes and lines whichrepresent how they feel andthin k.
Cive each one the handout,"tle works! She works!" (SeeAppendix 4, pp. 125-126.)Divide group into two. Onegroup reads "He works"column, the other group "Sheworks" column.
Now ask them to surface theirreflections visually throughcolors and key words.
Ask them to look for threeother persons to show theirtwo visual reactions. Give
them time for sharing. Someguide questions for thesharing: WhY the shaPes andcolors? What feelings orthoughts crossed Your mind?What do You think is thepresent situation of women?Why do you think this is so?
6. Each gouP decides on acommon statement whichrepresents the grouP'sreflection. Show this through a
group tableau. Use nodialogue.
ITo AY TABLEAU. ANo AN6TAbIEAUT ANG TAbLEAUAs lN ll\bL-o Ay rsAN6
AClION NA 5A KALACITNAAN
NO ACTtoN NA lTo AY
TITT6T KAYO NA PARN
DAN6 NANIGAS KnYo.FRE EZE. BA6A AT PA6 I(A -
-rAPos Ar lruluLoY N',yo
NA ULI YUN6 ACIION.
Conduct a plenary sharingof tableau statements.Ask participants to Presenttheir respective grouP'stable?u: its message andthe relation of each individualin the picture. Provide timefor clarification and Polishingof tableau studies.
End session with a Poetryreading of " For EveryWoman" (See APPerrdix 6pp. 129- I 50). Provideappropriate music.
\{U LAAN NYO
KUNG ANO ANG
G INAGAWA NAMTN
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Objectives:
Diagnose how participantsperceive and react to gendersituations.
Provide creative venues forthe participants to discoverthe various roles of womenand analyze how thesestructures affect /dictate suchroles.
CTIAKACTER-SITUATIONSTIMULUS
Objective:
Surface spontaneous reactions tovarious stiuations.
Procedure:
Ask the group to sit in acircle.
Ask anyone to react by sayinga line, phrase or dialoguegiven the following stimulus:
batang lalake naglalaro ngmanyika- batang babae nanonood saamang nagtatrabaho samakina- 16 anyos na babae buntis- asawang lalake naglalaba saposo sa harap ng bahay
- Ika- 12 anak na babae, hindina mapag:aral dahil mahirap- anak na babae dwnatingnang ala-una ng hatinggabi- asawang lalake dwnatingnang late mula sa trabaho- ano ang ibibigay na advicesa malapit nang ikasal?- naghiwalay na; etno angsasabihin sa babae?
3. Cather feedback and/orinsights. What did youdiscover in the reactions/dialogue which surfaced?Why were those expected ofwomen and men? What weresociety's pressure on thechild-girl or boy?
O ScENE TMPRovISATToNs
Objective:
Surface spontaneous reactionsthrough creative improvisation onvarious life situations.
Pfoceduret \
I . Divide the group into 4.
trach goup creates an instantim provisation complete withdialogues, character,movement as required by thescene suggested by thefacilitator.
Some suggested scenes:
daughter giving report carcl loparents
gfoup of girls talking aboutboyfriendsmother and father giving sonand daughter pieces ofadviceschool problems rooted outfrom being a girl or a boysome TY /movie episodes withwomen characters in any ofthe following:dramaactioncomedypictures in printadvertiseme nts suggesti ngsociety's regard for womenpreparing for mariage(pamanhikan)prayer in the church
Note: Use freeze-action Process tofacilit ate the presentation ofeach goup imProvisation
Pick out from the above somescenes which could be playedwith the fime MachineExercise.
E.g.: Preparing for Maniage(MalTiage Proposal) -
show this pafticularevent in various times:pre-colonial era, duringthe Spanish regime,during the Japanese war,today.
4 , Provide a short feedbacksession on the participants'f'rom the various exercises.
PRIVATE AND PUBLICARENAS
Tableau Studies
Objectives:
l. Analyze arenas of womenactivities.
2, Develop teamwork andsensitivity through groupactivities.
Materials:
Pictures of Women at Workin the householdin the community/neighborhoodin the school (volunteer, extra-curricular, PTA)in organizationsin the statein the market
Procedure:
Divide the gfoup into 4subgroups. Give eachsubgroup a picture.
Ask participants to copy thepictures using their bodies.
3. Tell pafticipants to show eachscene as a tableau. Ask eachcharacter in the tableau (orpicture image) to speak out aline.
o
l.
2.
o
5.
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2,
2.2,
First ask the participants to"freeze". Then tap a goup tostaft developing their scenethrough movement anddialogues. Shout "Freezel"after some time and call outanother group to develop theirscene.
ffier all the groups havepresented, tell them that thistime they have to come upwith their own original pictureas facilitator calls out arenasof women'si activities.Example: horne, community,place of work, school, media,church, etc.
End the activity with one bigpicture with everybody in itas participant - WomenUnited.
Cather feedbacks:How did you feel? What areyour discoveries? Who arethe women in the differentarenas? How did yourcharacters react in thedifferent arenas or situation?Why? What dictated suchreactions or roles? How didyou find your group process?
O WOMEN AS SOCIAL ANDECONOMIC ACTORS
Women as ProducersRhythm & Sound Studies
Objectives:
l. ldentify and affirm women associal and economicanimators.
2. See and consider how womenactivities relate to largersystems of activities or aproduction system.
3. Create sound and rhvthmicpieces projecting women -
related issues.
Materials:
Pentel Pen, manila paper,variousobjects which can produce soundswhen manipulated
With the following pre-exercises participants can exploreaftistic possibilities with sound andrhythm that they can use later inExercise B: Space-Souncl Storylmprovisation. Use the latterexercise as a take-off point fordiscussion.
Procedure:
A. Pre-Exercise:Body Sound ExPlorationand Orchestration
I . Ask particiPants to form a bigcircle. L,et them sitcomfortablY on the floor.Encourage them to exPlorethe different sounds wl'tichcan be created bY bodYpatts.
hand - claPPingfinger - flickingfeet - stamPingnasal soundsvocal soundsothers
Ask each one to demonstrateone's discovery through arhythmic pattern. GrouPechoes rhythmic Pattern ofeach pafticipant.
tead them to theorchestration of theserhythmic pieces. Facilitatoracts as conductor.
Elicit short reactions - whatfeelings, places, events areyou reminded of bY ourorchestrated Pieces? How doyou feel about it?
Yre-exercise C:
Junk Explo and Orchestration
I . Now ask them to get theirfound obiects. ExPlore thedifferent sounds and rhYthmicpatterns which could be madecut of these objects. Providetime for exPloration.
2. Now each one demonstratesher rhythmic Pattern throughher found object.
tead them to an orchestrationof their pieces with You, theFacilitator, acting as orchestraconductor. Encourage themto move and dance around.Let the i un k orchestrationreach to a climzx and thenslowly fade out.
Elicit surfacing of feelings,insights, events, places,people which particiPantswere reminded of bY themusical improvisation .
,D.
3.
7,
'2
4,
5
!1
?re-Exercise:
Sound lmprovisationParamihan ng Gawaing Babae
l. In gtroups of 6 memberseach, participants list variouswomen's activities. They thenrecreate these activitiesthrough sounds using one,sbody and voice as well asfound objects.
2. Call out a group to present animprovisation. Another groupguesses the activity depictedin the improvisation. Thegroup who guesses it rightpresents next. List on boardthe various activitiesdepicted.
Provide a specific space.(e.g. balkonahe). Each grouprecreates through soundswhat a woman does in thespace. List on board theactivities. Next, indicate aspecific time of day(e.9. l:OO am.). List downthe responses on the board.
Space-Sound Storylmprovisation3
Divide the lFoup into 4subgroups. Ask thepafticipants to create anatistic story/piece with abeginning, a middle and anend, using creative sounds.Use no dialogue. The
following topics may besuggested:
- household chores frommorning till evening
- farm life - morning toevening
- office hours- factory Site
Cive palticipants enough timefor goup work andrehearsal.
Ask the palticipants to sharewith the other goups theirexperience through apresentation. Cive eachgoup a piece of manilapaper and a Pentel pen forthem to write theirimpressions later as a goupperforms. Draw lots forsequence of perforrnance.
Ask the gloups to perforrn astheir turn comes.
As each group perfofms, asksthe other groups watching andlistening to write down ontheir manila paper women'sactivities that they visualizein the work space-sound-and-story improvisation of theperforming group. Aftereach performance, ask theaudience to identify the storysequence. The performinggroup in turn clarifies theirpresentation and validates thr:audience's perception of theirstory.
When everybody hasperformed and their pieceshave been analyzed, a,sk eachgoup to paste their paper onthe board. Ask the goups todramatize by turn the variouswomen's activities visualizedfrom the different soundstories.
The facilitator or resourceperson provides deepeningthrough intimate discussionand surfacing of insights.The following questions canhelp analyze tlr'e issue ortopic:
Why do we say that womenare also producers?How do they contributegreatly in the productionsystems?How can we make ourcontributions be more feltand visible?What are some practicalways to better understandgender-relations and theinterdependence of menand women in theeconomy?
Some important points whichneed to come out:
We tend to ignore the fact thatmost women are engaged inwork not onfy in their famify-related roles. They also act asp rod u ce rs--farmers, f isherfolk,crafts people, traders, workers,employed, self-employed,employers, etc. The actual rolesof women are usually morevaried and significant for theeconoffiy, more than economistsand planners realize. lt is fruitfulto consider how women'sactivitOs relate to larger systemsof activities or a productionsystem. Looking at women'sactivities, the systems theycontribute to, as well asperforming a gender analysis ofthese systems result in greatervisibility for women, a betterunderstanding of gender-relations and theinterdependence of men andwomen in the economies.
5.
6.
2,
3,
5,
c.
l.
il'iDRAMA. POETRY ANDMUKAL
Objectives:
I . ldentify the differentstructures that dictate the roleof women.
Ex peri en ce artistic/creativeactivities as a group.
Materials:
Drawing and writing materials,manila paper, pentel pens, black-board, masking tape, ball orimprovised ball
Following is a series of activi-ties which Ne so closely relatedthat the first exercise builds up tothe next. However, there is a needto define the focus of each exer-cise. Th us, after every exercise,feedback should be gathered , lf ,
however, the facilitator finds thepafticipants quick to respond tostimulus and Ne quite open, theremay be no need for feedback -
gathering after each exercise. Ageneral feedback synthesis at theend of this series of exercises willsuffice. The facilitator is free tomake adjustments. See to it thatthe exercises flow smoothly.
A. Isang Araw sa Buhay ngIsang Babae
Procedure
Instruct ttte participants tochoose a woman character
who strikes them most(whether positively ornegatively) . That woman maybe a historical, literary orpolitical figure or may besomebody very close to them.Think of that woman.
Ask the participants to relaxand lie on the floor. Civethem breathing exercises.Tell them that they Ne nowassuming the character of thewomen they chose. Now eachwoman will undergo atravelogue and she has tomove according to what she isdoing at the specific time andspace that the facilitatormentions. Her movementsshould be clear with well-defined details.
Now start the travelogue :
Start from 5:OO a.m. to l2:OOp.m. Cive them continuousmotivation by supplytngdetailed instructions andquestions to help therhvisual ize their actions.
Cive "freeze" moments, andchoose some pafticipants toact out their character'sactivities, or allow others tosay their dialogue. Elicit morecreativity and realism. Therecan be interactive moments ifneeded. Allow theparticipants to go back to theirlyrng positions. Motivate themto relax and slowly go back tothe workshol) s(:ll irtt1.
Sample Motivations forTravelogue
It's 3:00 a.m. and You're asleeP.
Where are you sleePing? On asoft bed? Or on a hard woodenbed? Or on the floor? ls it cold
or warm this time? Are theremosquitoes? Etc...
"lt's 8:00 a.m. and You're nowinside the bus. How crowded isit? Are you seated or standing?How does the bus move, slow or
fast? How are the roads? Show
through action... 9:00 a.m. ...10:00 a.m. ...
"lt's 8:00 p.m. and You're havingdinner. What is Your food? Do
you like it? Show through action.Are you waiting for someofle,etc..."
ALAS TREs...
NAGLIL16PITAKo
Elicit feelings and insights forfeedback:What did you feel? WhY didyou choose that Particularwoman? WhY do You think awoman never runs out ofthings to do? What are thecontributing factors?
For synthesis, discuss thestructures that affect /dictatethe role of women.
oo AL A5
5.o
2. 62.
NwEb6...NA6sUJ U LS
Atco.
l.
1)
ALAS DYEs...
NA6HUH UCAg
AKO N6 M6APrsG6nu .
t:
Samples oI Dugtunganlntroduction Lines
Titfe: Sf Ginang sa BahayKrrng,,, wnaga na neilnan
l. Gather participants in a circle Bangon Qinang kahit alasand play catch-and-throw ball. 4:OO pa langTell them to give words,phrases, lines which remind Title: Azg Asawa kothem of the following as they Eto na si lvlister, pagod na
Mural-Making FYom Poetry
Procedure:
l. Cive each goup coloringmaterials and manila paper.Ask them to picture theimages in their poem throughshapes, forms and color,showing women in variousactivities and making use oftime and resources.
2. Cive participants ample timefor making murals. Encouragethem to leave no spaceuncolored.
3, Ask pafticipants to shareinsights about the murals.Draw out some impoftantpoints:
O How can the total burdenon women be reduced,and their time becomemore prod uctive?
O Can new information,
B. Catch-alld-ThrowPoetry Dugtungan
Procedure:
catch the ball.
Keywords
Gawaing Babae
Oras ng paggawa
Gamit sa Paggawa
Kapalit ng Gawain
Suweldo, peraEtc...
Naisip
NaalalangPangyayari
Mga Bagay
TaongNakasalamuha
DialoguekasabihanSymbolsEtc...
2. Continue the catch-and-throwthrough a poetry- dugtunganprocess. Give a title or theme.Staft with a line and throw theball to someone who adds aline thereafter, the ball isthrown to another memberwho adds another line and soon down the line. Stress thatrhymes are not always in manypoems. Facilitator can get theball back to control the flow ofthe poetry.
pagodSalampak sa sopa, siya'y tilahilahod
Title: Ang InaSa gitna ng gabimagigising kaSa iyak ng bata osa kalabit niya
5. Ask them to go back to theirgroups of 5's or 6's andinstruct them to write a shortdugtungan poetry on any ofthe structures identifi edearlier. In attacking theirpoetry writing session,motivate them to usepafticular concrete i
experiences.
4. Give them more time for this.Co around for addedcoaching. When one gtroup isthrough, ask them to polish,edit, read, listen to the poenrand write the final text onmanila paper.
5. trnd the poetry session with ilchoral reading of the poelllswritten.
opportunities andinitiatives? What are theirconstraints regardingtime and mobility?
O hlow should developmentand planning programsrespond to theassumption thateducated andeconon:lically activewomen postpone andminimize giving birth andmaintain better health asa result?
O How can we increase theproper appreciation ofwomen's greatcontribution to theeconomy?
O What strategies andschemes can women doto have access tocritical resources fori n creased prod uctivityand income?
welfare or income be 4, End session through chants.introduced in ways Chant all the impoftantcompatible with women's challenges and ans\,ver to thetime and budget? above questions.
O When and where canwomen be involved? G. Change
O Whir lt :t(l() flr()ul)si arcliltt:ly irv;ril;tlrlr: lol' r't(:w
Can their workschedules orresponsiblities be
Objective:
rearranged or relocated? I . Cuide the participants throughthe process of identifying howgender problems manifest intheir lives.
I
t
'2. Cuide them to define ways tobreak the cycle of gendersu bordination.
3. Provide a tool for thepafticipants to identify theirpersonal agenda for change.
o FILM, POSTER, CREED
Objectives:
l. Point out practical examplesof double burden of women.
2, Point out some ways tounleash this burden.
Materials:
Film - lmpossible DreamFoster -"Ylr, & Mrs.sa Trabaho/Baha/'Hand-Out - "Obstacle Course"
Procedure:
l. Show the film - TheImpossible Dream.
Divide the group into smallgroups of 5-6 persons. Civeeach person the poster"Mr. & l{rs. sa Trabaho/BahaS/',
Ask the group to reflect. Askthem to point out and discussthe similarities between thefilm and the poster. Relatethese points to one's own life.
When they Ne through withtheir discussion-sharing, glveeach participant the hand-out"Obstacle Course" (SeeAppendix 5, pp. 127-128,)
Ask them to go over the"Obstacle Course" and assigneach group to study one ortwo items thoroughly. Thenask them to giverecommendations on properattitude gleaned from the"Obstacle Course."
Ask pafticipants to form onebig circle. Croup membersstand beside each other.
Point by point, each "ObstacleCourse" is recited andwhichever group is assignedshares their appropriateattitude. Ask someone towrite all the attitudes on theboard.
trnd the session by readingthe "Proper Attitudesi writtenon the board.
2. State one's agenda for change 2.
through dramatic Pieces.
Procedure:
A. Pre-Exercise:Oppressor-OPPressed
l. Ask each one to get a Paftner.They decide which one is thethe oppressor and which onethe oppressed (e.9. adrunkard husband and asubmissive wife). Ask them toprovide each character with a
line:
'?#ffirHi,'*)onnn"babae... bahala ka!
WIFtr:"Aray! Ivlaawa ka naman!"
Ask participants to form asilhouette of their chosencharacters.
Ex. l-lusband pulling the hairof the wife. (Husband'sposition is higher andwife's position is lower')
Following the example givenabove, ask husband to rePeathis line 5 times and tointensify, for exarnPle, hisanger from angry to veryangry. Ask wife, on the otherhand, to answer back, frompitiful to most pitiful.
Facilitator shouts "Change ! "
and counts from I to I O.
Slowly the performers switchcharacters and lines (like asee-saw).
Go on with this process 3-4times until the particiPants getthe feeling of both theoppressor and the oPPressed.
N6 1il .-.
HtNDr NAMAN AKoN AK h?AGLUto KA5
Httlot t\lAMANSYA NA6 - IWA N
NG PE RA NA
PAptALEN6Ki
t
i
D.
3.
7.
4,
5
B.
2,
3,
O PARTTcIPATToN ANDCHANGE
lmage Theater
Objectives:
Share and recreate genderproblems through dramaticimprovizations.
\
ll. Group Tableaux
Divide the group into 4 smallgroups. l-€t each groupbrainstorm on a particularproblem of women.
Show this problern in a pictureimage or tableau. Give themtime to rehearse to clearlyshow each other'srelationship and the problem.This is the Actual Image.
Co to group tableaupresentation.Now create a new tableauusing the same importantcharacters in your previoustableau (with problem). Thistime the new picture will nolonger have the problem. lthas been resolved. This iscalled the ldeal lmage.Give them time to create thisideal image tableau. Practiceshowing these two picturesone after another. Add a newdimension by letting each onespeak out their character'sinner thoughts. Cive themsome time for rehearsal.
Each group now shows twotableauX: the Actual lmageand the ldeal Image.
Co back to your group andcreate one or two newpictures showing thetransition images, betweenthe first tableau, Actual lmage
and the last tableau, IdealImage. Rehearse them again:l-2-3-4- or l-2-3 images.Character dialogues maycome in.
6. Go to the final presentation ofall their Image tableaux.Gather them again in a circleand talk about the problemsand solutions shown, Analyzethe process of solving,pafticularly transition from theActual lmage to the ldeallmage. How was the processof attaining the ldeal lmage?What difficulties did youpersonally encou nter? Howelse can we attain the ldeallmage?
Draw out some im portantpoints: Women in developmentmeans development with peopleas participants and not only asbeneficiaries. A pafticipatoryapproach requires a process thatbrings new opportunities forWomen. i
C. Letter-Writing
Materials:
Paper, pen or pencil
Procedure:
End the previous session byinstructing the pafticipants towrite a letter to a lovecl one
choosing from any of thefollowing themes:
I{emories of Being a WomanAking KahapoIl,Ngayon at Bukas Bilang BabaeParticipation and Change forWomenPersonal Keflections
Or: Activities that I have beendoing as a woman and what I
want to do or not do; want tolearn, to change.
2. Cive participants the rest ofthe afternoon for writing.Letters will be read duringevening session.
O MGA LIHAM, AWlrAT ALA-ALA
Objectives:
I . Share personal feelings andinsights.
2. Provide a fitting Day 1-ender.
Materials:
l,etters written by participantsSoothing taped instrumentalmusic for backgroundCopies of songs and tapedmusic of:
BABAE KAPAOBABAOO
Procedure:
I . Divide participants into threesmaller groups, ensuring thateach one of them reads herletter. Provide proPer moodand setting through lights andmusic.
2, End by listening and learningthe sohg:
BABAE KA OT
PAOBABAGO
Keflection of the DaySalin-awit
Objectives:
Defi fl €, en umerate discoverieland learning points of the daY
Provide a more relaxed endintsession.
Materials:
Pentel-pen, manila paPer, writingmaterials
Procedure:
Divide the group into 4 teamsCive each team a piece ofpaper and a pencil. Instructthem to write titles of son$son women - folk songs, PoPsongs, etc... Ask them also togive a name to theil'grouP(band). Cive them a definedplace to sit.
2.
3.H.
4.
5.
2. Call out a group to sing one ortwo lines from a selectedsong. The first goup calls outthe second group which thencalls out the third gfoup andso on down the line. A groupcan call back the lfoupwhich has called them earlier.But there should be norepetition of songs. Croup iseliminated if they cannot startto sing after they have beencalled and a countdown of 5has been made. Winners canbe declared at the end of thegame.
Now each goup selects fromtheir list the song they like
best. Each group sings thewhole song.
Now change the lyrics of thesong to words and phraseswhich tell how they feel afterone whole day, theirdiscoveries, insights, learningpoints, etc. ..
Cive them time to composeand rehearse.
Share experiencesencountered during theexercise.
End the day with a groupmassage.
7,I
3 II. SPECIAL FT.JNCTIONALEXEKCISES
A. DIAGNOSTICEXEKCISE
Objective:
Cauge the participant'sorientational and ororganizational level.
Procedure:
l. Group pafticipants into 4's.
'2. Facilitator shouts a stimulusword (e.g. "womQYr","clevelolrl'll(: lll ", " \,/()rl{","llec(|", "('ll;lll(l(:", r:l<'.) nl I ltc
count of 5, particiPantsimmediately mime or actout what comes to theirminds.
5. Each group should unite onone action on!Y.
Facilitation Tips:
This exercise is best done insilence. This is to gauge howeach one interacts in a smallgroup given only 5 seconds toreact and to unify.
Give focus to each grouP'spiece. Then proceed to nextstimulus word.
o
ll
o
r B. SENSITIVITY EXEKCISESTNOULDER TO STNOULDER
Objectives:
I . Build sensitivity among theparticipants.
2. Build up a team.
Procedure:
Tell the participants to faceany direction. Then tell themto close their eyes.
[,ead each participant to adifferent space in the room.
Give out the command,"Ylovel" Each participantshould find two othershoulders to lean hershoulders on. She should notstop until she finds the twoother shoulders.
When everyone has her "twoother shoulders ", f acilitatorshouts "Fre ezel"
Tell the pafticipants that whenthe facilitator taps someone,that person should fall. Theobjective of the person besideher is to save her or toprevent her fall. While othersare forbidden to make any
noise, the participant about tofall can make a sound.
When everyone hasexperienced "falling" andbeing "saved", facilitatorallows participants to slowlyopen their eyes.
Croup pafticipants back to acircle for surfacing of insights,Facilitator asks thesequestions: How did you feellooking for the two othershoulders? tlow did you feelwhen you could not find theother two shoulders? Andwhen you have finally foundthem? How cloes it feel to falland be saved? Or not saved?What learnings, insights didyou discover in this exercise?Relate to real life situations.Relate to the workshopProcess.
Centering Exercise: GroupElbow Massage
Objectives:
I . Help each other relax.
2. Center each other's energy.
7,
3.
4.
5.
l.
2,
C. ICE
Procedure:
Form a big circle.
Face right and do a one kneebend (genuflect) position.Using the elbow, massage theperson's back in front of You.
When through, everybociYfaces left and do the suilneelbow massage.
BKEAKER
Concentration Exerci se:7-up
Objective:
Develop concentration in a fun-play way.
Procedure:
I . Group forms a circle.
'2. One starts bY counting I . Thedirection of the count is basedon the direction of the handplaced on the chest of the onecounting.
5. By the time the count reaches7 , the hand is placed on toPof the heacl.
4. The next count starts from Iagain. This is againdetermined by the direction ofthe hand resting on toP of thehead.
5.D. VARIOUS
FOKA
Objectives:
Share in an interest grouPoutput.
2, Share !troup-resolutionsthrough creative venues.
Materials:
As needed by the grouP
Procedure:
I . Divide the group into 3-4interest groups.
O Concert ProductionO Drama ProductionO Creative lvlodule
ProductionO Visual Arts Production
2, trach gfoup begins to work ontheir group interest Project:
CONCtrRT PKODUCTION -
Learn to sing songs ProPerlYabout women, comPlete with
movement or a choreographyof images. Prepare a 5- I Ominute concert production.
DRAMA PRODUCTION.Come up with a mini-product-ion on a particular women'sissue. Rehearse this product-ion for a 5- I O minute show-case, complete with cos-tumes, sets, sounds and dialogue. The outcome of thelmage Theater Exercise can bea take-off.
CREATINC LEARNINC MODULLS -
Co back to some particulartopics in the worlshop. Se-lect a topic and create an out-line of activities to bring outthe message of the topic.Create module teams (5-4people in each team) to planmodule packaging andfacilitation.
VISUAL ARTS PRODUCTION -
The group makes a muralabout women, Pafticipantscan put together a big muralproduction.
3. Cive participants the wholemorning for rehearsal andproduction work. Facilitatorsmove around for monitoringor each facilitator takes careof one production or interestgroup. Facilitator may also actas a consultant.
Sharing of Production
Procedwe:
l. Present the various showcasesor productions.
2. Ask each goup to conductits own Synthesis andtrvaluation.
BASIC GENDEK AWARENESS TRAINING:SUGGESTED READINGS
l. Countittg for Nothing: What lvlen I l 'Value and What Women Are Worth.Waring, Marilyn -
Wlnchster: Allenand Unwin, 1988. 29OP.
2, The Domestication of Work.Rogers , BarbaYa - L,ondon: Kogan | 2'Page, 198O. 2OOP.
Feminism and Nationalism.Angeles, Nora C. Feminism andNatlonalism: The Dlscourse on theWoman Q,uestion and Politics of theWomen's Movement ln thePhlllppines: A Thesis... Diliman,Q,uezon City, 1989. 277p.
The Feminist Challenge. Agullar,Della, The feminist Challenge; inltlalworklng princlples towardconceptualizing the femi nistmovement in the PhlliPPines -Malate: Asian Soclal Institute, 1988.
The Feminist Movement in thePhilippines. l9O5- l955. Subido,Tanosa. Q,uezon CitY: CAWP, 1989.7 4p.
The New Our Bodies, Ourselves-Revised Mition -
New York: Simonand Schuster 1984 647 P. illus.
What is A BoY? What is A Girl?-Waxman, Stephanle -
n. l. TheWomen's Press (n.d.) 4l p.
Kiss Sleeping Beauty Goodbye-Kolbenschlag, Madonna. BantamBooks [n.d.)
Women and Small Business; a
collectlon of IWTC Newsletter dealingwlth women's involvement inbuslness and flnance -
New York:IWTC, 1985. I l5p.
Women Usin<t Me(lia for SoclalCh:rnqe.' a collr:< I lott of IWTCttr:wslr:tlr:t <)lt w()lllt'11 ;lllrl ttlr:dla
-Nr:w y'r1, 1,1)ltll l{}ti;r. lllrr..;.
5.
Women Taking tlotd ofTeclrnology; a collectlon of IWTCnewsletter on women and aPProPrlatetechnology lssues - New York, 1984.166p. lllus.
Women Organizing,' a collection ofIWTC newsletter on women'sorganizlng and networklng strategles
- New York: IWTC, 1984. I l4P. lllus.
Woman: The Password ls Action -New York: IWTC, 1988. l5l P. lllus.
Women Working Together ForPersonal, Economic andCommuni ty DeveloPment.Kindervatter,suzanne. 1985. lSOp.
Its Our Move Now: A CommunltyAction Culde to the UN NairobiForward L,ooking Strategles for theAdvancement of Women. Sandler,Joanne -
New York: IWTC, 1987.I l2p.
Occaslonal Paper No. l: Women inDevelopment. National Commlsslonon the Role of Fillplno Women.
Occaslonal ?aper No.2: Feminism.National C-ommlsslon on the Kole ofFilipino Women.
Primer on Gender Issues. Edltedbyt Eviota, Ellzabeth wlth PaPens/discussions on: Sex and Gender,ldeology and Cultural Practice,Sexuallty and Sexual Practlce, TheFamlly tlousehold, Sexual Dlvislon ofLabor. Natlonal Commlssion on theKole of fllipino Women.
Woman to Woman: Anlntroduction to Feminism.lnternatlon alist Issue.
-v'hilippine Development Plan for'rl/omen. I 989 - | 992. NatlonalCommission on the Role of FlllPlnoWomen, 1989.
4.
5
6
7
8
I
15.
t4
t5
l6
17.
l8
l9
Io 20.
APPENDIX I
A MEETING
Act l: I3-2b
Today we gather.Meeting together to consider
where we standand who we are,
We come to order ourselvesinto a new sense of order according to our progressfrom the last gathering to this one,
Be with us, O God,in this space and timeas we affirm and-shape the changesin our understanding of the Way.
We desire not to fly apartin garish fantasy of visionbut rather to move the boundariesthat we have set beforein order to encompass and embracethe living and breathing growthof each and all.
We work in prayer and dialogue.In going back to see where we have been,we steady owselvesfor the journey forward today.
We are hereto reconcile all that we were,
our trust... our hopelessnesSour Joy... our despalrour conflrmlng... our betrayal
lrl
to offer a farewell to those who are departedand to welcome those who Ne newly come.To confess, absolve, reconcile, renew.To be all that we can be.
To set firm a pathway that is possible.Possible for us to walk until we meet againto reassess the journeyand again set firm a pathway.
trach step along the way we clear the stones and obstacles,healing and refreshing each other.We listen openly to each tale of travel andhear each one's proposal for the time ahead.
Knowing you are here, God,we are freer in our interaction,more daring in the sharing of our personal visions,loving in our confrontation,deeply silent in consideration andaccepting in the choices that for a litile whilewill help us to define our actionsuntil broader definitions draw us on.
In this your presence,we meet to order ourselves anew,to consider where we stand and who we are.
Today we gather. I
SOURCE:MIRIAM OF NAZARETIIWoman of Strength & WisdomAnn Johnson
APPENDIX 2
CKEEDI believe in Cod/who created woman and man in
Cod's own image/who created the world and gave boththe sexes /the care of the eatth.
I believe in Jesus/Child of Cod, born of the woman,Ylry/who listened to women and liked them/who wasfoltowed and financed by women disciples.
I believe in Jesus/who discussed theology with awoman at the well/and first confided in her, hismessiahship/who motivated her to go and tell her greatnews to the city.
I believe in Jesus/who received annointing from a
woman at Simon'S house /who rebuked the men guestswho scorned her. /l believe in Jesus/who said this womanwill be remembered for what she did - /minister for Jesus.
I believe in Jesus/who healed a woman on thesabbath /and made her straight/because she was a humanbeing.
I believe in Jesus/who spoke of Cod as a womanseeking the lost coin/as a woman who swept seeking thelost.
I believe in Jesus/who thought of pregrancy and bifthwith reverence/not a^s punishment-but as wrenchingevent /a metaphor for transformation/persevering inanguish/giving bifth to joy.
I believe in Jesus /who appeared first to MaryMagdalene/who sent her with bursting message : /CO ANDTtrLL.
I believe in the wholeness of the Saviour/in whomthere is neither Jew nor Greek/slave nor free/male norfemale/for we are all one in salvation/in liberation.
I believe in the l-loly Spirit/as she moves over thewaters of cre ation/and over the earth.
I believe in the Holy Spirit/the woman spirit of Cod/who created us and empowers us/to seek out faith andtruth and justice.
I believe in the Holy Spirit/through whoseempowering/we shall be liberated and we shail be free/together with all of our sisters and all of our brothers.
F'OR I BELIE,VE THAT NONE OF'US CAN FINDLIBERATION UNTIL ALI. OF US HAVtr F'OUND IT. I
APPENDIX 3
asaya at maaYos angbuhay sa baYan ngKagawasan, Ang babaeay kilos babae, at ang
lalake, kilos lalake; nasa tamanglugar ang lahat. Bagamat PantaY-pantay ang Pagtingin nila sa
kababaihan at kalalakihdrT, hindisila naniniwala sa mgamakabagong Pananaw na Parehodapat ang kilos, ugali at PaPel ngbabae at lalaKe sa liPunan.
Babae ang Pangulo ng Kaga-
wasan. Babae rin ang mga oPisYalna nasa mahahalagang PosisYonng gabinete, tulad ng Kagawaranng Patakara ng FangkabuhaYan,Tanggulang Pambansa, PananalaPi,lndustriya at Kalakal. Babae angmga sundalo, ang mga negosYan-
te, ang mga Pari ng simbahan.Babae ang mga manggagawa,magsasaka, mangingisda, atpropesyonal,
NararaPat lamang ito, dahiliyan ang papel na itinakda ngDiyos Ina para sa mga babae,Kaya nga't biniYaYaan ng DiYos lnaang kababaihan ng hagawasan ngmga katangiang angkoP saka n i Ia ng m ah alagang Pananagutan.s;f lipunan: anq ntatalas na isiP at
kaka-yahang magPasiYa, ang lakas
at katatagan ng kalooban, ang
lakas ng katawan.
Ang mga lalake naman ang
mga maYbahaY. Sila ang nagaalaga ng mga anak: tutal, maY
Iikas silang katangang maPagma-hal at maPagaruga. Sila rin ang
biniyayaan ng mga kamaY na masmay resustensYa sa init, kungkaya't mahuhusaY silang magluto'Kasiyahan nila ang pagsilbihan angkanilang mga asawa at mga anak'Bagamat hindi sila kumikita sa
ganitong klaseng gawain, sinusu-portahan naman sila ng kanilangasawa bilang kaPalit sa kanilangserbisyo, Kinikilah rtn naman ng
lipunan ang kanilang mahalagangiontribusyon: sila ang tinaguriang'ilaw ng tahanan" at taon-taonbinibigyan sila ng bulaklak tuwingAraw ng mga Ama,
Ang ganitong Pagkakahati ng
trabaho sa liPunan' at ang Pagka-kaiba ng likas na Pag-uugali ng
babae at lalake, aY alinsunod sa
pagkakaiba ng kanilang mga kata-
wan. Tanda ng lakas at katataganng kababaihan ang kanilang kaka-
yinang magdala ng bata sa kani-lang sinaPuPunan, at tiisin ang
ANc FANTASYA /YI EBA
I'r,'1r:rr,'rl:t:i.trll:,,t1"'.lt'lrt\r'rrl'i''lot1r;t1rr'toll"Srl'\atlr'lOettdcr"byEllcnDlonlslr>Arf .rlrlfrf lf (ff ll ,rl.' lttl''ttL.tli"tt'tl ltil'trtt'" Wltctt wc s;lY w()ltl;lll' l)o wt: also trtr::ttl tttirtti'"
sakit at hirap ng pagluluwal nito.Ang kanilang papel bilang mgamanggagawa sa lipunan ay naka-batay rin dito, at sa kanilang kaka-yahang magpasuso sa mga bata:hindi ba't ang panganganak, atang pagkakaroon ng gatas pera saanak, ay isang uri rin ngproduksyonT
Pati ang anyo ng kanilangaring pangreproduksyon ay naa-ayon sa kanilang papel bilangmanggagawa, mangangasiwa, attagapagpasiya sa lipunetn, Ang aring babae ay nakatago, kung kaya'thindi madaling masaling; malayasiyang nakagagalaw. Papaloob angdirelrsyon nito, sagisag ng kanyangkakayahang pagm uni-m unihan angmga bagay-bagay at magbigay ngmahusay na kapasiyahan Sa pag-tatalik, ang ari niya ang sumasa-kop sa ari ng lalake, sagisag dinng kanyang pananagutang sakupinang mundo. Qayon din ang posi*yon sa pagtatalik na nakapagbi-bigay sa kanya ng higit na kasiya-han: siya ang nangingibabaw saIalaki tulad ng pangingibabaw niyasa kalikasan.
Samantala, dahil walang kaka-yahan ang lalaking magdalantao atmagpasuso, at dahil ang babae naang nagsusugal ng buhay sa pa-nganganak, makatarungan lamangna sa kalalakihan na ipaubaya angpagaalaga at pagpapalaki sa mgaanak. Bukod pa rito, nalilimitahanang kanilang mga galaw ng kanil-ang ari: di tulad ng sa babde, na-kalawit ito at madaling mabasag.
Kung kaya't kailzrngang pagkainga-tan sila, huwag masyadong pala-basin ng bahay, dahil kung maymangStari sa kanilang ari, paano naang pagpapatuloy ng lahiT Kita rinnarnan sa kanilang ari ang kakula-ngan nila ng kakayahan sa maha-Iagang pagpapasiya: dahil nakala-bas ito, may kababawan silangmag.isip at hindi gaanong maga-Iing rnagtago ng mga selrreto,Kung kaya't nababagay silangmagpasiya tungkol sa mga bagayna hindi na dapat pagkaabalahanpa ng mga babae, tulad ng kulayng kurtina. Oayon din, ang posi*yon nila sa pagtatalik ang nagpa-pakita kung ano ang papel nila salipunan: sila ang nakatihaya, naghihintay habang tinatrabaho ngasawa. Dahil sa akto ng pagtataliknapapaloob ang kanilang ari saari ng babae, Iaging sinasabi sakanila kapag sila'y ikinasal: "FIagpasakop kayo sa inyong mgaasawa..."
Sa Kagawasan, isang masa-yang pangyayari ang pagkal<aroonng anak na babae: "l7ayan," wikang mga ina, "may magdadala nang pangalan ko." /4t nangarngarapna sila sa paggtng Pangulo balangaraw ng kanilang anak, flasaya rinsana ang pagkakaroon ng anak naIalake, dahil magkakaroon ng isapang katulong sa gawaing-bahayang mga iilna; ngunit kung bakitnapapaluha ang mga ama kapagnakitang lalake ang kanilang mgasupling" at naibibigkas ang: "l-letona ang isa pang pambayad sakasalananl"
APPENDIX 4
HE WOKI{S. SHE WOIilfSBW WIIAT DIFFERENT
IP//PNESSIONS TTIEY I}IAKE!
Have you ever found yourself up against the old double-standard work?Then you know how annoying it can be and how alone you can feel.supervisors and co-workers still judge us by old stereotypes that saywomen are emotional, disorganized, and inefficient. Here are some ofthe most glaring examples of the typical office double-standard'
The family picturedesk:A solid, responsible
The family picture is on tlERdesk:Hmm, her family will come beforeher career.
is on HIS
family man.
tlIS desk is cluttered:He's obviously a hard worker anda busy man.
tler desk is cluttered:She's obviously a disorganizedscatterbrain.
tlE'S talking with co-workers:He must be discussing the latestdeal.
SHE'S talking with co-workers:She must be gossiping.
lf E'S not at hisl-le must be at a
desk:meeting.
StlE'S not at her desk:She must be in the ladies' room.
llE'S not in the office:I lc's meet.ing customers.
StlE'S not in the office:She must be out shopping.
|l'
1
I
I
i
I
lll
HE'S having lunch with theboss:He's on his way up.
SHE'S having lunchboss:They must be having
SHE'S having a baby:She'll cost the company money inmaternity benefits.
APPENDIX 5
THE OBSTACLE COUKSETI.ID ISSUD IS:
The multiple of discriminatory practices womenexperience in the paid labor force are sustained andmaintained by a web of prejudicial attitudes that defineand confine women to a secondary role in society. Theseattitudes are reinforced through the educational andtraining opportunities made available to women and aremajor obstacles to action and legislation designed toremedy the economic inequities women experience. Forexample:
PEKSONAL OPINION : PUBLIC POLICY
with the
an aff atr.
The boss criticized HtM:He'll improve his performance.
The boss criti cized HER:She'll be very upset.
HE got an unfair deal:Did he get angry?
SHE got an unfair deal:Did she cry?
HE'S getting married:He'll get more settled.
SHE'S getting married:She'll get pregnant and leave,
HE'S having a baby;He'ff need araise.
tlE'S leaving for a better job:He recognizes a good opportunity.
SHE'S leaving for a better job:Women are undependable.
Women are highly emotionaland cry whert they are
Only hire a woman worker ifthere Ne no menavailable for the job
A wom an' s place is on theassembly line or at thetypewriter
Keep women out ofmanagerial positions
ATTITI.JDDS
woman'shome
Woman nimble
tr 1r.st: t
4
6
0
7
I0
[0
Women are nurturin$: theylove to take care ofothers
Women's salaries aresupplementaryz theirhusbands earn moneyto suppoft the family
Women are undependable.They frequently misswork because of homeand childresponsibilities.
All women want to getmarried and raisefamilies
Women are not 'team'players; they don't knowhow to negotiate oroperate by businessrules
Women know how to takeorders; they areaccustomed to this fromtheir husband, brothersand fathers
O utspoken, self-confide ntwomen aretroublemakers
Women wanted for thefollowing positions:secretary, nurse,waitress
lf a woman is hired, we canpay her less
Hire women as paft-time orcontract workers. Thatway, we need not paybenefits or provide jobdevelopment
Don't waste tirne or moneytraining women forgreater responsi bi l ities
Keep women in inside jobs.Do not put them inpositions of im portancewhere they will representthe organization \
There is no need to consultwomen about the workthey do; just directthem, tell them whatto do
APPENDIX 6
FOK EVEKY WOMANby Nancy Smith
for every womanwho is tired of acting weakwhen she knows she is strongthere is a manwho is tired of appearing strongwhen he feels vulnerable.
for every womanwho is tired of acting dumbthere is a manwho is burdened with the constantexpectation of ' knowing everything"
for every womanwho is tired of being called"an emotional female"there is a manwho is denied the rightto weep and be gentle
for every womanwho feels "tied down"there is a manwho is denied the fullof shared parenthood.
by her children
pleasure
for every womanwho is denied meaningfulemployment and equal paythere is a manwho must bear full financialrcs po n si bi l itv for a n oth erIr rrrlritn Jlcing.
tlire docile, subservientwomen without muchself-confidence
for every womanwho was not taught theintricacies of an automobile,there is a manwho was not taught thesatisfaction of cooking.
FOR EVERY WOMANWHO TAI{F^S A STEP TOWARDIIER OWN LIBERATION,
TIIERE IS A IVIANWHO FINDS THAT TIIE WAYTO FREEDOM HAS EEEN IVII\DEA LITTLE EASIER.
APPENDIX 7
WHAT IS TO BE DONE?Program for Advocacy
PKINCIPLES
l. The right to growAccording to each one's capabilities and indinations- elimination of gender stereotypes- androgrny
2, Sexual &Reproductive Ffeedom- sexuality that affirms self and others- whether, when and with whom to have children
3, A Primary Group that Supports these Aspiratlons(Family)
4. Etimination of Sexual Division of Labor" Recognition & valori zation of reproductive work- entry of women into productive sphere, men into productive sphere
AGENDA FOK CHANGE
l. Sexuat Division ol Labor
A. Valuation of reproductive workl. Inclusion of reproductive work in GNP2. Social supports for housework and child care5, Development of household technology4. Flexlble work affangements
Rcltr'llrtecl frorrr l)nl)er on 'Sex nttd Oender- by Ellen Dlonlslo.
1II
Il.
B. Entry of women into productive work D.
l. Training in non-traditional productive skills2. Projects towards economic independence
Access to productive technolory5. legislation of equal pay for work of equal value
C. Entry of men into houseworh retraining of men
The Family
A. Redefinition of basic unit of societyB. Social recognition and support for alternative household
arrangementsC. Revision of family laws and policies on:
- domestic violence- decision-making- control of economic resources
D. Redistribution of work within the familyE. Social supports for victims of domestic violenceF. Non-sexistchild-rearing
Sexuality
A. Redefinition of sexuality towards stress on responsible choice- laws- policies- media- religionPopulation policy for educated reproductive choices and accessto these choices
C. Strict appropriate penalties for sexual violenceD. Support for victims of sexual violence
lV. ldeology
A. Languager non-sexistB. Education
- elimination of gender stereotypes in content and structures lt.- retraining of men and women orientation
C. Mass Media- elimination of stereotypes- projection of alternative images
Religion- sepzuation of church and state policy- personal choice, not imPosition- transformation from within: rites, teaching, hierarchy
STRATEGY
l. Cotlective Action
A. Organizing of Women-, general issues- gender issues
Womenl. Separate women's organization
Work2. Women's group within organization3. Women's groups/committees within political groups and
paftiesEducationl. Training of women in leadership and economic skills2, Integfation of gender consciousness in education programs
s iffiffi,:l1lilffi:T p betweenissues
C. Mobilization
- as base groups
- with other women's grouPs- with other forces- democrati zation
Support for collective action
A. Research empiricaltheoreticalpolicy-oriented
B.IIT.
B.
gender and sectoral/social
alternative mediacommunal suPportICPwomen's participation
in organi zation
advocacy
B. Tlansformation of institution for popular educationl. Critique and transformation of formal education2, Critique and penetration of conventional media
lll. Personal Action
A. Re-examination of consciousness and actionB. Non-sedst chilGrearingC. Workplace
SPEAI{EK: Ellen Dionisio
APPENDIX 8
COI.JKSE EVALUATION
A. On the Objectives
l. Where the objectives met?
Yes ?aftially-No
Which objectives were not met?
2. Were your expectations met?Yes
-Partially
No
Which of your expectations were not met?
B. On the Contents
l. What topics did you feel most relevant to you?
2, What concepts would you like to be clarified further?
c. On the Methodotogy
l. On the whole, how effective were the trainors/resource Personsin handling and getting their inputs/topics understood?
Trainer/Kesowce Person Very Good Fair PoorQood
Identify any outstanding display of strength by any trainor/resource Person in this regard.
Identify any outstanding display of weakness of any trainor/resource person in this regard.
2. Which activities (e.g. lecture, workshop, exercises, open forum,etc.) were fadlitated well?
5. Which activities were not facilitated well?
D. On Participation
l. How would you rate your own participation in the differentactivities during the course?
Very goodQoodFairPoor
What possible factors could have affected yow participation?
a,
b.
2. How would you rate interpersonal relations among participants?
Very goodCoodFairPoor
3. tfow would you rate your relationship with the training staff?
Very good0oodFairPoor
What possible factors could have affected your relationship withthe training staff.z
E. Technical Matters
Very Cood FairCood
PooY
Timeliness of the Course
Venue
Sleeping Quarters/Facilities
Food
Reading Materials/Handouts
Ir. What other course/workshop would you want to beoffered to your organization/office?
G. What other suggestions, not covered elsewlrere lnthis form, do you have to further improve thiscourse/workshop?
Accomplished by:
Name
Date
Signature
Title of Course Attended
