Minutes from the discussions

Are Writers Free?

How free are writers today? What does intellectual freedom mean in our society? Are there still topics we’re too afraid or ashamed to tell? This session may discuss censorship, sensitive topics in literature, and more.

Speakers: Ericson Acosta, Chingee Cruz, Bei Ling, Allan Derain

Moderator: Jun Cruz Reyes

Date: April 28, 2016

Time: 2:30 – 3:30 PM

Jun Cruz Reyes: Ericson, mainit sa kalsada ngayon 38 degress. Kumusta na ang kalagayan mo ngayon? 

Ericson Acosta: Mainit ang political temperature. Mainit rin ang politika sa eleksyon, marami pang isyu na hindi naa-address ng mga kandidato… ang sabi ko nga kay jun cruz kanina, sana mas maganda yung talakayan natin kaysa dun sa mga presidential debates.

Ang issue sa mga political prisoners ay isa sa mga isyu na hindi napag-uusapan.

Jun Cruz Reyes: Tingnan naman natin ang panulat sa panahon ng multimedia, sa kasalukuyan, pagka may blog ka, writer ka na, etc. ‘Yung kalayaan nilang magsulat, paano ito nakaaapekto sa pagsusulat ng mga seryosong manunulat? Ano na ang nangyayari sa so called serious writing sa ating bansa? 

Chingbee Cruz: I write mainly poetry… Because I work in poetry, I have never had the illusion that I will be read at all, which I think is a freeing notion. As much as I believe in the need to reach out to readers and to connect with readers, I think we also get this point in time where reader equals market and if the only way that you can think of readers is to think of a market, well, I think that’s everyone’s loss… poetry is not something easy to sell.

Jun Cruz Reyes: Meron isang anyo ng protest na nagaganap, what I call a negative protest. Ano yung tingin mo sa nangyayari sa panulaan ng mga bata? Masaya ka pa ba?

Chingbee Cruz: I think angst and anger can be dead end or can be degenerative. There so much to be angry about this world. If you look around and you’re not angry then you are not looking. You can use your words to conceal, to manipulate, to exploit, to express. The other question is how to harness the anger… 

Jun Cruz Reyes: Paano nagkakasundo-sundo ang mga interes mong ito(pagdodrawing, pagpipinta) sa iyong pagsusulat?

Allan Derain: Sa tingin ko yung pagsusulat ko yung mas nakatulong sa pagdodrowing at pagpipinta. Dahil ang pagsusulat ay nagbibigay ng readily available na konsepto sa kung anong mga maaaring iguhit.

Jun Cruz Reyes: I-discuss natin ang mga advocacies sa inyong pagsusulat.

Ericson Acosta: Writing, I think, for us, goes beyond being published in a traditional sense. There are lot of ways of reaching your audience besides goin throught the process of the traditional ways of publishing… Pag-aralan din natin ang hindi natin napapanood… We should never stop questioning things…

Allan Derain: ‘Yung sinasabing kalayaang intelektuwal ng mga manunulat ay nakaugat doon sa kalayaang magpahayag. Ang problema, hindi ito masyadong nagiging totoo dahil nasososbrahan tayo nito…


Q1: Ang tanong ko po kung meron po kayong 3 pinakaproblema as writers, ano po ang mga iyon?

Ericson Acosta: 1. paano ka maiintindihan?

Allan Derain: 1 oras. 2. Espasyo. Lahat ng mga ginagamit kong oras sa pagsusulat ay mga nakaw na oras.

Chingbee Cruz: 1 paano magiging mapagpalaya ang mga manunulat?


Book design workshop

A short but incisive look at how a book is packaged from cover to cover.

Speaker: Ige Ramos 

Date: April 29, 2016

Time: 3:00 – 4:15PM

Ige Ramos

It is very difficult to design a book

Your book must look effortless and should generate a positive response

Must impart happiness

Two fundamental approaches; strategic and aesthetic

Used to work at the ccp, wala pang photoshop etc, before it was different, difficult time for graphic artists, fonts so limited, Helvetica, wala pang aerial

No communication between authors, editors and the artists, nangagapa sa dilim ang artist, its up to the artist to beat the deadline

Strategic: workflow, resources and timetable

Writing, budget, time, sinong mag-eexecute and timetable

Aesthetic: type, color and composition


Éclair – flashes of of inspiration

5 minutes exercise/workshop

What are my strengths as a designer?


My favorite color?

Who is my major inspiration?

What design work do I enjoy?

What kind of work do I want in the future?

Design a logo based on these questions and justify why you come up with that design

Design brief is the heart and soul of the book; it will help streamline ideas that focus on the design solution rather than the problem.

Tungkol saan ang book? Sino ang audience? Doon nahihirapan ang artist. Kulang sa communication.

Design brief will help you achieve contextual creative decision, a keen eye for developing visual detail from simply understanding the text.

Make more design studies.

Design brief must be distributed to all members of the team. It is singular entity that defines your book’s DNA.

Design brief questionnaires:


Company name, industry sector, contact details, project type and title

Background that has led to this design brief

What is the clients unique selling proposition?

Who are the clients key competitors?

Who is the target audience for the project?

What is the business objective of the project?

What existing materials should be aware of?

What are the “non negotiable” elements of the design?

Text and images

Specs of the items required?

Production time table

Who is yourtarget audience?

A good design brief is vital to the success of a book project

Its all about finding the voice of the book

Choose the key players in your book. The team players must be on the same page.

Dapat naiintindihan ng lahat ang gagawin

Key players

Publisher, author, eic, art director, photographer, managing editor, recipe editor, kitchen assistant, proofreader, pre-press artists

Identify and eliminate overlapping positions. Identify the weakest link.

The boss is the publisher, your client is the author. Don’t be confused.

Organizing information

Devise a workflow chart

Describe or illustrate your current workflow

Identify key areas and potential land mines

Publishing workflow

Creative editorial process: text, image, first draft


First review process: editor, designer

Second review process: designer, editor

Conversion process: digital file, press proof

Approval process: editor, designer

Printing process: final product

Imagination and design

Design ethics 101

I use adobe creative cloud

Get a licensed software. Nakaw ang pirated software. Meron namang student version.

If you cannot afford adobe, use canva. Andami mong pwedeng gawin. You can also use open source

Pantone, isa sa mga pinakamahal na produkto, andyan lahat ng latest colors, trends, etc

Myfonts.com, ang mura ng mga fonts nila, ang daming design and its licensed

Latinotype.com, blends well with Filipino design

There was a time I spent P 70,000.00 for fonts

Some of the books I designed took me two years (Kulinarya), 1 year and 8 months (Philippine Culinary Vignettes)


Edited text


Style sheet


Paragraph style

Color scheme


Designers should guide the readers to appreciate the book


Book Spin-Offs

How receptive is the public to products created from books they love? How effective are book spin-offs in boosting book sales? How can publishers and authors work together to leverage their IPs into merchandise?

Speakers: Jun Matias, Tanya Yuson, Charles Tan

Moderator: Ani Almario

Date: April 29, 2016

Time: 1:30PM to 2:45PM


Tanya Yuson:

I was working in LA for various studios. I’m a producer that looks into content day in and day out to figure what content can be turned into movies. Shanti and me…

Our Criteria:

A good story, something that is engaging. Original, not so much derivative of something familiar. Universal, it might have the flavor of SEA but people of other cultures can relate to it. Adaptable, can be turned into other platforms, a film, a video game…

Dru: could be the first in a continuing story. It is a heavily illustrated book. Originally from Indonesia. An Indonesian Alice in Wonderland. It’s a middle reader target, 9 to 14. For other platforms, my background and my business partner’s background is film, we’re thinking of doing an animated film. Merchandising—bags etc. Licensing, translation into other languages. Events, we had a coloring book contest for the launch of Dru. It’s a good way of promoting a book but it can also be a stand-alone event.

You can be creative in terms of events, how to get the word out there on the book that you have.

It was promoted in Jakarta. It hits better if it’s translated into Bahasa Indonesian, but it’s okay if it is in English. Now it is being promoted at the Bangkok COMIC CON, the biggest pop culture festival in Asia.

Jun Matias:

Ano ba talaga ang Spin-off? Kapag gumagawa ka ng libro, sa publishing halimbawa, nag-iisip ka kung ano ang gagawin pagkatapos ng libro. Mas madali yung merchandise, pero naiisip din ang pelikula. Ano ba yung Spin-off, yung iba brand extension, yung iba by product tawag nila. Ang book spin-off ay mga produkto na nilikha na may kinalaman sa libro na nilikha.

Maaari itong naiibang libro na may kinalaman sa tauhan ng isa pang libro. Grey halimbawa.

Yung twilight naging graphic novel, nagkaroon ng film.

Pwede ring maging t-shirt, pwede ring maging mug. Promotion din ito ng libro. At pagmomonetize din.

Ano man ang pagtanggap sa spin-off ay, nagustuhan man o hindi, nangangahulugan itong magkakaroon pa rin ng karagdagang kita ang libro.s

Sa experience naming, recently sa Precious Hearts Romances, recently may book kami na napublish ang title Remembering Sunday, sa Facebook, mag magmemessage sa amin na gusto ko yung kwento ni Karla na hindi naman bida kundi kaibigan lang ng bida, kaya yung author nape-pressure na maglabas ng hiwalay na kuwento, spin-off.

Ito yung mga spin-off sa amin, yung mga pocketbook naging T.V. series, pero yung mga napanood natin ay hindi naging faithful, siguro because of a few circumstances kaya may outrage sa fans ng mga libro.

Gumawa pa kami ng shampoo, kasi nung araw uso ang mane and tale. Baliktad ‘to. Yung shampoo ang nag-inspire ng libro, yung Stallion Hanggang ngayon bumibenta yan.

Charles Tan:

Consider alternative distribution channels

Consider digital distribution as a viable model

Produce diverse titles

“Let’s make more books”

When you say spin-offs, the best description for that is derivative works. Create works from original works. For example yung komiks na Tabi Po.

We’re flipside and we publish e-books, and for us, e-books are not spin-offs. Some e-books come out first as e-books, then later on they get published by local publishers.

Yung Tabi Po, originally Filipino webcomic, we translated it into English and published it as an e-book.

Bakit e-books? If you already have the print book, konti lang ang cost to have an e-book, di na kasi ie-edit, hindi na magbabayad sa graphic designer etc.

Kung may customer kayo sa US, sa Saudi, mahal o mahirap ipadala ang physical na libro sa kanila. Pero sa e-book, basta may credit card, madali na lang. It’s a new distribution channel. Kapag sa e-book, kapag nagkamali ka, madaling i-edit. Kapag physical book, irereprint ulit.

in relation to our theme, so we don’t forget. The previous generations grew up with print books, mahalaga rin ang print books. Pero sa atin, madali lang maghanap sa internet. Kapag nasunog ang library mo, pwede kang maghanap ng e-book.

E-books as Marketing

Some local publishers publish books that came from the internet. Tabi po ni Mervin Malonzo for example.

  • Local publishers look for ebooks to release as prints
  • It’s easier to organize simultaneous sales of your e-books across diff. platforms
  • ebooks as giveaways are cheaper than print books as giveaways
  • -buy/pre-order the book, receive the ebook for free

Other Derivative Work

It requires additional creative costs but translations can open a new distribution channel (whether locally or internationally).

As authors, know your rights with regards to language and geographical restrictions, as this can be an additional source of revenue.

Q & A

Question: The question is for Jun Matias, can you tell us more about your tie up with the ABS yung paggawa ng telenovela about your books. Kung paano nila pinipili at yung extent ng involvement niyo.

JM: Number 1. Kinausap nila ako which books… kung ano ang gusto kong gawing telenovela. Binigay namin sa kanila tapos namili sila. Dahil galing ako sa T.V. alam ko siguro kung ano yung kailangan nila para sa T.V.

Question: This is for Miss Yuson, what are your thoughts on cinematic universe, parang they are using it left and right parang marvel universe…

Yuson: That’s a good question, when you look at Marvel and Disney, they are in the business of making money and that is why they have expanded so much. I believe they will start to see our stuff soon.

Question: I wrote a Filipino story na naging comics, I presented it to a popular food company and the company rejected it. My question is, we are a textbook publisher, how can we package the product?

Yuson: You should identify your market. Corporations, the reason why mcdo and Jollibee put marvel in their cups is because they already have an audience that they want to connect with. You should always think who you should want to connect with and you should figure out how to connect with them.

Question: Kay Charles Tan, paano magiging academic yung ebooks…

Charles Tan: Ang ebook container lang, hindi kami ang mag-iimpose ng restrictions, kung para sa teachers yan, follow niyo yung criteria nila.


Mapping Digital Activity in Philippine Publishing

Speaker: Honey de Peralta

Date: April 29, 2016

Time: 1:30 – 2:45 PM

Honey de Peralta

With the proliferation of digital devices and gadgets in the past decade, data on digital book publishing and reading in the phils are few and scattered.

Whats the best way to bring the book to the audience?


Provide a clear view of the digital book publishing industry

Data from 2010 to 2015 and forecast from 2016 to 2020

Internet use 44%, above average

Time spent on the internet – 6.3 hours, highest

Average net Connection speed; 2.5

Social media use – 40%, big chunk of the market

Time spent on social media – 4.3 hours, second highest

Mobile social – 32%, mobile is a very strong profile

e-commerce, population who bought something online – 21%

mobile commerce – 11%

you don’t find reading on mobile activities in the phils

these data are important for the digital publishing industry

traditional publishing value chain

creating, publishing, marketing, producing, distributing, selling, reading

marketing a book is very important

everyone is trying to sell us something, they’re vying for your eyes, attention, so many books but so little time to read

digital publishing value chain is not so linear

creating, publishing-marketing-producing-distritubing, selling, reading

the author can publish, market, produce, distribute and sell online

you can also get professional help

you can publish your work at amazon very easy, painless

the author can also price the book

you can also go to smashwords.com to publish your book and sell through different online stores

where to find Filipino e-books online?

Amazon, comixology, buqo, vibe (vibal) google play, kobo, flip reads, acribd, ibookstore, precious pages, etc

The challenge is how your book can be discovered among million books online

That’s why marketing is very important, and you’re not only selling to Filipinos

Find a way to be noticed

Publishers with ebooks

Adarna, anvil, omf, summit, precious pages, psicom, tahanan, vibal, up press, etc

Indie authors


Buqo – 170 titles, storylark-143, flipreads-143


110 contemporary romance indie titles published 2013

3,119 titles available on the ebook stores

Ebooks published by Filipinos

Platforms most popular in terms of distribution and sales

Revenue contribution

How else do we maximize digital publishing to reach more readers and make publishing more sustainable?

Frankfurt Book Fair 2016 Briefing

Date: April 28, 2016

Place: Session Room B

Start Time: 2:30 pm

End Time: 3:45 pm

Moderator: Graciela Mendoza Cayton

Speaker: Claudia Kaiser

Today, I’m going to tell you what book fair is like and I would give you some tips on preparations.

Rules and regulations:

  1. Fix books prize. The customer whether in different places, the price is still the same.
  2. No negotiations possible. And if you’re a member of the association, and you do negotiated, they can sue you forever, because you have signed that you would care for this regulation.
  3. We are also quite a conservative country especially in publishing and in book selling.

After the Second World War, we have a lot of small book publishers in Germany. These are the carriers of culture. Even though they don’t make a lot of money, we need them on the book fair, and make sure they would come.

Like every other companies, the cheapest price has the smaller money spent. The more you buy the bigger the discount.

We had a big event, our guest of honor was Indonesia, a lot of attention was focused in their country. We have exhibitions of different culture of this country and also in Germany, which also is very important in introducing the culture of the author, not only of Germany but the culture of different countries in the world.

The fair was there for you and to the publishers to sell right, they want to see what is happening in the industry, and they want to see the latest trends, they want to market their products, their authors.

My first time in the book fair, I was completely overwhelmed, it was really so huge. So if you want to go to all of them, it was really impossible, so you have to make a choice.

We have different criteria and division every country and by subject. So we have librarian center, a tribute book area, we have hotspots which are new exhibition modules, a digital company (anyone who only needs a screen and exhibition space) who doesn’t have a showcase books, cook book area, etc.

All these people are walking around, I mean if this is a hall everything start falling, because these people do not care who are walking.

We have a especial program where there is a one on one consultations, which is very very professional, what happens there just happened a few years ago. We have conferences, a market conference and other is the time for Christ meeting.

The market meeting is the new format, which we introduce to several countries, and in different way. The people talk about the market statistics, the area, one speaks about the investment opportunities falls. There are 5 representatives per country who share about the different kinds of publishing, and this year is the Philippines.

Travel planning, especially on hotel bookings. I think the procedure is to go online book, go to the embassy, and come there with your papers. You should start there three months early, time can be tight.

To think about how you place your products, each and every publisher who is present in the book fair should decide what kind of books, what kind of titles they really want for so that they can plan their strategies accordingly.

On meetings: you have to set your goal first. Do you want to sell right, which type you want to sell for, what time you think was the best option to sell it, and then which countries you are entitling for.

If possible, you have to increase you feasibility on things that makes more sense, probably something on the agora, it has quite expenses, we also have a website, we also have a book fair app which is very useful.

If you have an event you can have a lot of opportunities to market your events, on website and on printed format, and also on the book fair, so people can read fine on your events.

What’s most important is your data to specify and tagged.

One also has to be a little patient; a lot of companies told me that it takes few years to really be successful in a book fair.

Use the social media communication you can use that, use hash tags, we also have link in, you can join group discussions, upload your photo and say where they come from and tell what you are looking for, it’s fun website and it is also promotion for free.

Get to know a lot of people as possible, attend a lot of conferences and events as possible, it has a lot of work in planning.

One should prepare one notebook where you put all the business cards and meeting that you have, and watch your things.

You will do a lot of walking so you should wear comfortable shoes, and you should prepare a bottle of water because you will do a lot of talking and walking, so you should have a good breakfast, prepare to be hungry, I have to say,


Question: How do we prepare ourselves, I mean what should we watch for, for example how does Europe or Germany and all the publishers there look at Asian content, most specifically on the Philippines?

Answer: in Germany, wants to develop the book fair worldwide, we also have a NGO, they help to translation funding from Africa, Asia, and Latin America. And they have a catalog, they look for what kind of books that has been translated from the Philippines, I think we have one author.

It’s all about feasibility, what don’t know you don’t see, so the more you see it, the more something is in your face. Feasibility is very very important.

Question: what about those who have not go to Frankfurt before, they do not know anybody, do some publishers would have a chance to meet other publishers perhaps, is that something we should explore?

Answer: the more people you meet, the better you should be prepared, the better you know how to conduct meetings and how to get what you want to get. Organize meetings, a match making meetings, help you to enlighten publisher from our countries, like a session, visiting other book fairs that can be useful to the interesting market, to promote authors.

Question: how did Indonesia became the guest of honor, that could give us some clues hoe did Germany became interested in Indonesia, how long was the process?

Answer: We are very interested on the rest of the world, Indonesia was a very wise spot on our map. That could really be interesting country on Southeast Asia, so it is a mutual interest. So when we started the conversation about being the guest of honor, and as I’ve said, it is not something that you do just like that, and you want to make sure that it is sustainable, that something comes to all of it, so it has to be planned very well in advance. Three years before the guest of honor, the contract was signed, so we start for the work. We have to be feasible, we have to know more about your country, we have to visit a lot more book fairs. We came to Indonesia, to know more about the Indonesia, to know about the authors, so we have a lot of works to do.


Superheroes, Myths and Legend

Writers, editors, and graphic fictionists talk about writing and rewriting about superheroes, mythical creatures, and legends in this roundtable discussion. Topics may include the craft of writing, challenges in research, accuracies/inaccuracies in published myths, and more.  

Speakers: Carljoe Javier,Edgar Calabia Samar, Tepai Pascual

Moderator: Paolo Chikiamco

Date: April 28, 2016

Time: 2:30 – 3:30PM

Writers, editors, and graphic fictionists talk about writing and rewriting about superheroes, mythical creatures, and legends in this roundtable discussion. Topics may include the craft of writing, challenges in research, accuracies/inaccuracies in published myths, and more.  

Carljoe: … I would go to Thailand spend a month learning mixed martial arts and doing nothing else. That’s the fun part to me (kinda weird). And I feel like I am unnecessarily afraid, every time I go to a party, all of a sudden I am overwhelmed by this weird feeling… insecurity. That I don’t belong there.

Tepai: The most fun thing that I could be doing is or I should be doing is… I really want to go to Japan or Italy. Because I just want to be… I want to try their food, seriously. My dream job is to be one of those guys who travel. Kakainggit, e. They travel and then they just sit. And of course, write comics and stuff.

Fear, I’m scared of the hallway in our house. Seriously, there’s something there that makes me feel uncomfortable, I don’t know what that thing is.

Actually, birth. I haven’t experienced it, but that is one thing that mystifies me

Samar: I’m speaking mostly in Filipino. Noong bata ako kapag tinanong ako kung anong gusto kong gawin, gusto kong maging writer/illustrator sa comics. Mahilig ako sa Liwayway, Hiwaga Comics. Lagi akong nagda-drawing sa likod ng notebook. Lagi akong napapagalitan kasi nauunang maubos yung likod kaysa una. Hanggang ngayon ang pinakamasaya sa akin ay gumawa ng komiks, pero hindi ko siya kayang gawin. Yun ang gusto kong gawin pero hindi ko kayang gawin. Kaya meron akong paniniwala na yung mga writers, ito yung mga frustrated artists. Kapag narealize hindi marunong magdrawing, magsusulat na lang.

Hindi masyadong masaya. Si Rod Santiago, yung sa Liwayway.Gusto ko gano’n. Yung yung bagay na sa tingin ko mag-e-enjoy pa rin ako

Occasion na natatakot, na unreasonable yung fear. Nagtuturo ako bilang profession, na hindi ko naisip na hanggang paggraduate ng college na magtuturo ako, kasi lagi kong sinasabi na mahiyain ako at very introverted na tao. At totoo pa rin yon hanggang ngayon. Hanggang ngayon, kada sem, scary sa akin humarap sa mga bagong estudyante, kagaya ngayon. Lalo na kapag estudyante, kasi isang sem mo silang makakasama. Lagi kong iniisip ano kayang gagawin nila sa akin baka kainin nila ng buhay. Kapag nakikilala ko na, ay okay lang pala, puwede ko silang utu-utuin. Yun yung isang bagay na hindi ko ma-overcome, yung fear, encounter sa malaking grupo ng tao.

Yung isang bagay na nagmi-mystify sa akin yung mga bata. Parang kapag may kaharap akong bata, bata ba talaga ito. Parang kapag binigyan mo sila ng something deadly, puwede kang patayin ng batang ito. Yung pagiging unexpected ng mga gagawin ng mga mata. Yung unpredictability nila.

Moderator: The reason why I asked our panelists to answer those three question is because there is, I believe, a common ground…

These are stories of power. Power as fantasy is embodied in the superhero genre that you would want to do for yourselves. Fantasy of speed, of gluttony. Of creation. These are the superhero’s bread and butter.

Power as fear is embodied in the creatures of mythologies, of folklore which scares you, you can’t figure out what scares you, etc., the stories come from them.

Power as justification, explanation why the world is as it is. The myths and legends ay ginagawa ng mga tao kapag hindi nila maipaliwanag ang particular na pangyayari sa mundo.

These are the stories of power that we are going to talk about today. Aside from the basic foundation there are certain aspects that all of these stories seemed to share. I want to sort of conduct the panel by asking questions about each of these aspects.

First, striking imagery, myths and legends have some vividly described imagery.

Imagery. Meron bang striking imagery na may nagtagal na impresyon sa iyo? Description of a hero, a monster, or a scene, and why has this been unforgettable to you.

Samar: Madaling sagot. Manananggal. Fascinated ako rito. Aswang na nahahati sa mythology natin. Transformation ang characteristic niya. Ang transformation niya nagiging baboy, aso, uwak. Wala namang aswang na nagiging mangga, sampagita, pero meron bayabas. Confused siya bilang aswang.

Transmutation niya. Parang madrama siya, e. Mahahati yung katawan niya tapos magkakaroon siya ng pakpak. Kapag nahati ang katawan niya, may lilipad sa itaas at may maiiwan sa ibaba. Ang daming folkloric beliefs tungkol sa manananggal. Naniniwala tayo na hindi puwedeng galawin yung kalahati ng katawan, otherwise, hindi na siya makakabalik, kahit i-move mo lang, ibahin lang yung orientation. Asin ano, di na siya makakabalik kahit kalian.

Bakit, kahit may ganu’n danger, ginagawa pa rin.

Tepai: Yung sa akin, may nagli-lean pa rin siya through history, nu’ng nagresearch ako sa Mactan, about Lapu-lapu, may nagsasabi na legend lang siya. Taga-Sulu ang nagsabi sa akin nito. Taga-Sulu si Lapu-lapu ang legend ay lumangoy siya papuntang Mactan, yun ang legend niya.

Nu’ng nagreresearch ako, eye-opener sa akin, kasi there’s so much history, richness sa history natin na hindi natin nakikita.

Moderator: The second aspect that I like to bring up is … it seems common across the stories of power, is violence or, at least, the threat of violence. Very few superheroes, myths, are stories of peace, it’s possible to tell, a superhero, for instance, where there is no fighting but it usually stands out because there is always fighting. Most of our stories (myths, legends) are violence. Even of your talking about folkloric creatures, there’s always a threat of violence. I’d like to ask the panelists about the violence in this…

What do you think is the role of violence, why is it so appealing in terms of making these stories?

Tepai: It creates chaos. It creates problems. Violence creates an intense feeling. Kahit na hindi siya epic battle, kahit between two people lang. there is always a reason, doon natin nasusundan ang goal ng main character… It adds intensity to the story, depende sa violence na idadagdag. Is it bloody, gory, poisoning?

Samar: Ang charm ng violence sa story, ay ang violence, ay isa sa mga entry points sa realm ng imagination. Ilang sa inyo ang nakapatay na sa totoong buhay? Ilan sa inyo ang may napatay na sa isip ninyo? Di ba?

Isa lang sa mga entry point, ang violence, sa imagination. Yung mga hindi natin typically nakikita sa mga tao na ginagawa, mag-inflict ng harm. Nagkakaroon ng opportuniyu sa mga kuwento kaya siguro gusto natin iyon.

Sa tingin ko yun yung charm, kasi hindi natin laging kayang gawin iyon at gusto natin makita kung paano, kung baga, exhibition yung display ng violence. Yung infliction ng physical pain, challenging iyon sa imagination natin.

Carljoe: I think I have a lot to say about violence because I think about it a lot. Because very few of us has ever been in a real fight, had to give a punch. Iniisip ng tao they could punch somebody. Most people break their hands when they do it… We have this imagined sense of what violence is like, which is largely created by the kind of media we consume…

Why is violence appealing, because it is objective, there is a clear ending in it, so ginagamit ito sa narrative dahil nagse-set ito ng parameter kung sinong panalo o talo. they’ll tell it wrong, barbaric but when you understand it, ritualized violence is almost part of all society, in form of boxing, sports, etc.

Violence is an opportunity to create character, because how you fight is what you really are. Malalaman mo kung sino ka bilang tao kapag when you are in a extreme stress. That’s why you don’t really know who your friends really are until there’s trouble. Seeing some who fights reveal their character, daredevil, etc. Each character is defined by their style, how they move… etc.

Moderator: 3rd aspect. For all the fantasy, supernatural elements found in your stories, all have to be, at some level, grounded in reality… The stories folklore monsters, the power of these stories is that it happened to you know, a friend of a friend of a friend. So there’s always an element of it could happen to anyone, including the listeners. Laging modern world ang mga superheroes,

How do you create works that suspension of belief, how to you go about, what is strategies do have, gaano ka importante ito sa trabaho mo?

Carljoe: I really wanna grounded in a Philippine context. I want my character to be realistic. The current discourse in superheroes, is look at how cooltheir superpowers are. That kinda 1990s discourse. I want to build … this concept of, what is this power mean in a country essentially who feel so powerless. And how do you deal with possessing power and yet not being able to exercise that power in a way that influence, or makakapag-contribute sa society. Real world issues ang topic ng superheroes. One to examine the real world. The large part, or the large contribution of superhero narrative, is just one means to examine the real world issues. To expect a superhero narrative to be realistic is kind of ____. But to build from reality, from real emotion, then it’ll allow you to further explore those emotions… The alterego of a lot of superheroes (Filipino) never been as fully explored as their costume counterpart.

Tepai: When you write stories about normal heroes become superheroes, as a normal person, he has his own experience. At yung mga experience na yon, na-experience na rin natin. Meron tayong attachment to the character, we can relate to their emotion, their character. Hindi na, e, yung I will save the world. Mas nae-engage ang reader sa iyon narrative. At importante iyon. Otherwise, hindi tatapusin ng reader. Maganda na nag-iinject tayo human qualities sa superheroes

Samar: Fantastic creatures. Sa reality lang hindi tayo nagkakaisa ng POV. Hindi unanimous ang yes and no, halimbawa sinong naniniwala sa manananggal. Lagi tayong may safety nets, nasa loob natin ‘yung mga paniniwala sa mga bagay na hindi nakikita ng instruments ng science, halimbawa, sino na ‘yung cnagtatabi po pa rin, kahit gaano ka karational?. Yung character, Conflicted pa rin yung views sa loob ng komiks kung gaano ito ka-conflicted sa reality.

Moderator: 4th aspect. All of these, myths, superheroes, and legends, also almost always include a pedagogical values, always… moral lessons to the stories. Epics, usually yung mga heroes they are, perceived to be or at least they should be… about the question of good and evil, heroism vs. villain.

Why it is always at the forefront of these stories, I’d like to ask our panelists today, how do you create, do you try to inject your own particular moral stances to your stories, if you do, what is your relation to the story as art, as a vehicle for these lessons, how to you go about doing it

Carljoe: One of the major criteria is, a hero has a social mission. Kapag may superpower ka, bakit hindi mo na lang gawin ang mga gusto mong gawin? The moral stance of the superhero is, it’s the spiderman thing that, if someone has a moral obligation to do that. As superheroes as simplistic, because it limits the capacity, just the pedagogical thing… I want to question what is good, using moral philosophy. It is question often ask, because superheroes are often operate in a heightened challenge… If you are in the position of power, what is your moral obligation? It’s no longer something whether good or bad but seeing morality has many possible parameters to explore.

Tepai: Meron tayong tinatawag na “its for the greater good, di ba?” I think it also depends on the society where we live. How we grew up, culturally, taking consideration our culture. For example, for us Filipinos we are very protective to our family, immediate family. But anyway, in my story Mactan, there are two different camps there, the Spaniards and the natives, technically wala naman sa kanila yung evil, e. Yung camp ni Magellan, pinadala sila ng King of Spain to explore the New World, so for them, it is not really evil/ bad. The goal is not bad. But how they did it, is how evil for the natives kasi on their moral ground, mali iyon. Why are you killing our Babaylans? So doon pa lang may difference na ng belief. That’s small difference can already create conflict, it doesn’t mean one is bad one is good at a time but depende kung ano ang perspective. In Mactan’s case, the perspective is from the natives, ang lalabas talaga villain ‘yung Spaniards. Kasi ang magiging goal ng natives ay they need to survive, to protect their culture, to preserve whatever they are accustomed to.

Samar: Para sa akin, kung gusto mong… Kumbaga, kaya siguro ako nagtuturo ng panitikan at nagsusulat din dahil yung panitikan para sa akin ang nagtuturo kung paano maging mapanuri at maging malikhain. Ikalawa, pinapakita rin sa akin ng panitikan na ang mga bagay ay kumplikado. Kung ako ay babasahin siguro, at ang mambabasa ay hahanapin sa akin ay moral lesson, siguro madidisappoint talaga ako kung iyon yung hahanapin. Parang, umattend ka na lang ng misa, mas mabilis pa at mas marami-rami kang moral lesson na makukuha, sa isang oras, makakapakyaw. Siguro, para sa akin, ang pinakamabuting maituturo ng panitikan, ay yung turuan at hikayatin yung isipan na maging kritikal at maging malikhain. Parang, aahhh, yun din kasi ang naituro sa akin ng pagbabasa. Pag-isipan ang mga bagay. Isalin ang mga bagay sa malikhaing gawain. Meron akong laging anecdote na binabanggit, yung Janus Silang, yun yung first time ko nagsulat na may clear na demographic in mind na audience, kahit very loose. First time ko nagsulat ng ganoon.

Kung magiging amtapat ako sa pagsusulat, siguro magiging matapat ako sa pagsusulat ng kuwento, allegiance sa story. Kung ang detalye matapat sa kuwento, sa sinusulat, kapag ako mismo hindi convinced, na parang artificial ito (o phony?) at hindi believable sa akin mismo, hindi ko gagawin. Kumbaga, kung may mura doon, yun yung matapat sa story. Hindi rin ako magmumura, dahil gusto ko magmura. Kasi hindi talaga ako nagmumura, promise, hindi talaga. Buti nga si Janus nakapagmura na ng marami-rami… sa tingin ko, marerecognize ng reader yun kung niloloko lang sila o nagpapanggap lang yung kuwento.


Letters to a Young Poet

What would our seasoned writers write to young and aspiring authors of the country? What cautionary tale or comforting words can they offer? Join poets and fictionists alike as they make a public reading of their own letters to emerging and aspiring creators in the Philippines.

Date: April 28, 2016

Start Time: 4:00

End Time: 5:15


Edel Garcellano

Bei Ling

Benilda Santos


Bei ling:

“The farther you go from native country, the closer you come to your mother.”

I shall just give you my experience and how I got into writing.

You have to read a lot of poets.

Benilda santos:

I came to poetry rather late in life. I have a husband and I already have three children when I started writing poetry and I don’t know why it is that way but that’s how it began. I’m not very intellectual in my poems. I want to be simple. I had read all that Bei Ling here mentioned, you know, many of the poets from the west we read here in the Philippines. And I read almost all of the poets that he mentioned. But when I was in college, I started doing the opposite: I started reading old copies of the very popular Hiwaga comics or Klasiks Pilipino comics, etc. because I wanted material from common people because my life was very common. I was lower middle class, my mother was a public school teacher, my father worked for the American embassy as a clerk.

At that time what was common among my friends who were writers was to write in English. But I decided not to do that, I decided to write in Filipino or Tagalog, our own language because I told myself I want to be common. I didn’t want to be an intellectual poet, I wanted to be simple as though poetry were drops of rain, beautiful sunset, nice wind, ordinary food before the table, ordinary games, just those things.

I always imagine art, poetry—anything—to be pleasurable. Of course I know that art can be very heavy. It should be. Depending on circumstances… I decided that when I start writing I will have a fine time… I’m going to talk about nice things. Maybe other problematic things but I shall do it in a nice way.

I love that when you smile because art should give some pleasure, right?

I just want to tell you that poetry has made me very happy because it has given me another world all my own. So please continue writing, you will have a world all your own. 

 Edel Garcellano:

Sa English ko sinulat ito pero magpi-Pilipino na lang ako dahil sa baka hindi ako maintindihan. Not because mahirap ang English ko, kundi kalokohan lang itong sinulat ko.

(1) I am supposed to address young people who are enamoured of poetry, or the craft thereof. This is difficult for me. I have always tried to steer clear of workshops and literary soirees. They have since become a cottage industry for enterprising academics. But when the invite was sent to me, I had to write down my thoughts as representative of the Creative Writing Center of PUP where now I lecture. Should I be gentle? I don’t want to be mistaken as a grumpy old man by young people who secretly wish to be famous or national artist in the future.

Of course, there is in our subconscious the desire to be recognized, to rise above the crowd, to be proclaimed a poet. The honour sounds majestic, but many have fallen by the wayside – they end up as advertising creatives who rake the money: they who claim to have written a poem or two; they who ended up as Ayala hotshots working up campaign slogans for the likes of Duterte, Cayetano, Marcos, Poe, Binay, et al.

Today being a poet is almost a scandalous proposition. There is state funding for the honour, pension & free burial at Libingan ng Bayani

So how could you know if you have written a poem? Your mother would agree to the enterprise in the spirit of faith and maternal instinct.

But would you believe the accolade around you? That your aesthetics exude formal/ideological beauty?

There are books on how to write a poem, anyway.

But poetry is a savage God.

Right now, most of you are probably inclined to churn out something about the Kidapawan massacre where farmers were killed by state minions. You are probably itching to write/blog about it in the stereotypical militancy and compassion. Muster all the inexhaustible partisanship for the victims… (In the tradition of Markham’s Man with the Hoe)

(2) But how would you write it?
From what point of view?
How would you see through the gambit
of spin masters in the Senate?
How can you not be suckered into thinking
that you must act beyond the finite of words?
Who would benefit from your choice?
The candidate who will rule with an iron fist?
The peasants who have been reorganized
to block the highway?
What is the task of the poet
who must plot out the narratives?
Can you rise above the fray
without cheap sentiments?
How will you probe the politics of your text?
Being a poet is not a breeze; words may even crack
the delicate crystal of truth…
In my time, I made so many enemies –
people who could have been friends:
There was this guy who used to be
a down-and-out activist.
He would later hook up with a plunderers
administration, become eventually its spokesman,
& finally an ambassador who wore
expensive suits.
He’s gone now.
We could have been friends if not for my refusal
to grace a poetry reading hosted by a classy
campus sorority.
Poetry reading is not a simple matter.
I was young then but had misgivings about my
poems: what after all would I say to
starry-eyed campus beauties?

(3) In my ancient youth, when I entered UP,
the cultural tradition was real poets
are brooding manic depressives,
quick to slash their wrists and let the blood
drip, drip down…
It was scary, but was real.
The idea of a Ph.D. or master’s in
whatever is somewhat preposterous.
Poetry keeps you on the edge.
But today any young gun has
a Ph.D. from grants in American
university & flourishes in literary fest…
It seems too damned easy today.
There are many publishing houses
to release your secret poems…
Moreover I am told there are scars
on wrists of drug crazed poets,
wasting away in a nihilistic mode.
In an elite university, they even sent a poet
who writes in Filipino
to a university in America
which is somehow funny…
& I ask the young here –
how long would you toil
in the violet hours of
your young lives
to serve the savage God?
After all, poetry is a savage calling.

Hanggang doon na lang. If you can’t understand Filipino, I will always say, ‘yung sinabi ko is a little bit depressing because to me poetry is not really cute. Wala ka naman talagang mahihita sa poetry. Hindi lang salita ang poetry. It’s a commitment, a life of oneself. If you want to please people you have to be rich. Pera lang talaga ang dahilan kung bakit ka magpo-poetry. Kung wala kang pera, magpo-poetry ka. ‘Yan ang pragmatic consideration ko. ‘Yong sinabi ko ngayon ay hindi totoo o pwede rin namang totoo. Ang problema is that we cannot always say poetry is good. I cannot say that. Mahirap kasing maging makata. Baka patayin ka. Kung magsasabi ka ng katotohanan, baka patayin ka. E bata pa kayo. Wala namang mangyayari sa buhay niyo ‘pag pinatay kayo. Ang poetry naman ay hindi lang magagandang salita. Madali lang ang magagandang salita. Madaling mag-effect of poetic. Pero ang problema talaga is that are you willing to die for it? If you’re not, e mag-starbucks ka na lang.



Q1: How do you respond to someone who tells you that poetry is not important? That there is no money in poetry? There’s no career in poetry?

Bei Ling:

In my experience, being a poet is a lifestyle. Your truth is a lifestyle…

Benilda Santos:

…Poetry is not really in the mainstream. So, I don’t find it a problem…

Edel Garcellano:

The reality is that we have to deal with the stupidity of the people and the elitism of the poet. Kasi sa poetry, you need a certain sensibility to realize its poetry. And you want to be a poet? Mahihirapan kayong mabuhay sa mundo. Can you live well if you’re a poet? E ikaw lang naman ang maniniwala sa sinabi mo. Magulang mo lang o girlfriend mo, siguro. Anyway, we have to be cynical about things because definitely, poetry is really bad.


Q2: Sa paanong paraan po namin huhusgahan bilang mambabasa ng mga tula ang mga makata na nakikisangkot sa estado na malupit sa kanyang mga mamamayan?

Edel Garcellano:

How would we judge [these] people? Well they’re dumb. Kasi in the first place, if you judge them, wala ka nang masasabi kundi barilin talaga [sila] because they do not deserve to live. Most people do not deserve to live in the first place…

Mahirap namang sabihin mong pasista ka. The problem is, there’s a secret fascist in everyone. Buhay ang pasista sa puso natin. Palaging may pasista sa buhay natin whether in relation to your girlfriend, to you parents, to your friends. Kasi there’s a certain fascist in every bourgeois writer. Paano natin ija-judge ang mga taong iyon? We have to judge them anyway. Are we given the power to judge them? I don’t know. If we say we don’t have the power, we must have one.

Benilda Santos: 

Usually these kind of people who continue writing poetry they don’t naman produce good poetry. So, just ignore them.


Q3. What is the use of semantics in the art of poetry or literature?

Edel Garcellano:

Imbensyon lang ‘yan ng mga English teachers. But it has nothing to say kasi itong mga techniques ng meaning and all that, it’s a problem of context. Kasi in the first place, what do you mean by semantics?

…So in a sense, invention lang yan ng mga teachers of English para may masasabi silang may naituturo sila.


Benilda Santos:

 I never thought that being a poet is being something big except that I know that it allows me to do things with words. It allows me to do something with my thoughts. It’s a way of expressing things not very directly… so that you can sort of hide certain things and not to be so explicit.


Marketing Strategies for World Publishers

How ready are our publishers to step out of familiar shores? What strategies do they need to compete effectively in the world market? This session may include global marketing trends, innovative marketing plans for the international market, and more.

Speakers: Gwenn Galvez, Stacy Whitman

Moderator: Ani Almario

Date: April 29, 2016

Time 3:00PM to 4:30PM

Gwenn Galvez:

I will present a little bit about Anvil Publishing, a background of the book export market. And opportunities for book exports in the ASEAN region.


  • Children’s books
  • Cook books
  • YA books
  • Fiction
  • Biographies
  • Textbooks

Export Market for books

  • North America (US and Canada)
  • European Union (UK and Italy)
  • Asia (Hong Kong, Singapore, Taiwan, China, Japan, South Korea, Singapore, Brunei, Malaysia)

For export books in the US and Canada, the top sellers are children’s books and cookbooks and lately, language books—cebuano, waray, tagalog etc. which we are told, are being bought by young Filipino americans

In Europe, tagalog romances for the ofws

In Asia, we have a better representation because the market are libraries. But it’s a small market and basically academic.

My focus is the region closest to us, which is the ASEAN

There’s a lot of interest now in ASEAN because of its economic growth, the figure from 2010 to 2015 is 5.7 percent which is the biggest in the world.

We divided the ASEAN market into three: first Singapore and Brunei, second, Philippines, Indonesia, Malaysia 3rd Cambodia, Vietnam etc…

There’s 10 million households in 2014 that has a disposable income of 25K dollars a year.

The ASEAN has 620 million consumer, bigger than the European Union and North America

And the ASEAN market is very young, the average is 28 years old.

Publishing Challenges

  • Language
  • Production costs
  • Availability of raw materials
  • Freight costs


  • Government Assistance via ASEAN economic Community
  • Market studies
  • Trade missions
  • Business matching

Our prices should be competitive. Find out how business is done in those areas, the government can help us there.

Stacey Whitman:

We are a small press. We’ve done several big marketing pushes. And I think one that would be interesting to you is what we’ve done on social media, how do readers know that we even exist? Even if you have distribution, if no one’s aware that you exist you will not be able to sell books. What we’ve done is to focus on social media. Facebook keeps changing its algorithms. We can have ten posts a week on various topic, and only 6 people would see that out of 6 thousand who liked your page. As a small company we are not going to pay for ADS. We’re experimenting on other social media: Twitter, Instagram, Tumblr. Twitter is the water cooler of publishing. You should not spam, you should engage. Explain why you publish.

We have three people who are our marketing staff, and each of them has a different assignment.

Evaluate whether it’s working on us or not working on us. Tumblr isn’t working for us.

Social is a wonderful place specially for small publishers trying to reach an international audience.

The problem with books published by small presses is discoverability.

I want to hear what your questions are because I might have information that may help you.

Q & A

Question: Do you think that the Philippines has a superior power in terms marketing in South East Asia.

Gwenn Galvez: I’ve dealt with businessmen in Vietnam and Cambodia, they are hungry to learn, they are just liberalizing their economies. They are impressed by our ability to speak English. They are very interested with our books. Even in Brunei… our books are highly regarded in Brunei. We must first learn what we are going to offer and we should be competitive.

Ani: There’s a Veteran…who says that in the 90s, we are teaching Indonesia and Malaysia but now they are more advanced than us.

Question: My question is regarding diversity, how important is twitter, social media in general, in facilitating discussion between people and author who discuss diversity i.e., black lives matter

Stacy Whitman: Social media has been a lifeline for these discussions. Marginalized voices, especially in the U.S., they really need to build their own mode of publishing.

Question: Is there a really strong Business to Consumer marketing strategy in the Philippines.

Gwenn Galvez: If you compare the prices of our books with other countries, our books are relatively more expensive. And we use news print, news print for them doesn’t exist. For them, it is always book paper. So I’m not sure…maybe in self-help books.

Stacy: Check the Lian Lowe blog because you might get some info on how to do a B to Co or even B to T because our primary consumers are teachers.

Gwenn: We are now preparing a digital collection of our books.


Reading between the lines 

Speaker: Atty. Nicolas B. Pichay

Date: April 29, 2016

NP: If you have any questions about contract and copyright, just write it on a piece of paper and perhaps I will answer them during the open forum.

…We will tackle copyright issues.

Presentation: Observations on Culture

Kapag nagoobliga tayo, we link it to our personal capacities: gawin mo naman to o kaya para sa akin kasi kaibigan kita…

We have a fluid sense of time. It’s a tradition brought down to us by an agricultural economy.

  • We have a culture of selective trust. Palagi tayong trusting pero hindi lahat tinutrust natin, tinutrust natin ang magulang ang family, and t.v. (which we shouldn’t) tinutrust natin ang social media
  • We have a cultre of desperation
  • We have a culture of hiya
  • We have a culture of fitting in relation to family and society. Nakita ko sa facebook na may culture of anti-intellectualism daw tayo, ang sabi ng sikolohiyang Pilipino, hindi raw totoo yan. Ayaw lang daw nating maging iba. Kunwari masyado kang matalino, ang sagot “uy masyado ka naming matalino” kunwari magaling ka mag-ingles “uy nakaknosebleed ka naman” ayaw lang nating maging iba
  • We have a concept of utang na loob
  • We know how to barter. Pinagpalit natin ang isang island para sa isang estatwa ng sto nino, barter of panay. Yan ang unang memory natin ng barter

As Artists

  • Traditionally, artists are not seen as professionals
  • Outside of a commercial endeavor, creative output is seen as recreational, voluntary, community endeavor. Parang sa Fiesta, Uy sumayaw ka naman. Kaya kapag sinasabi mo na art, hindi nila nae-equate yan sap era.
  • Artists undervalue the worth of their work. Sasabihin nila, nakakahiyang mag-presyo, ikaw na ang bahala. Tradisyon na ito, halimbawa kapag sa probinsya ka sasakay ka ng Bangka, sasabihin sayo kayo na po ang bahala.
  • The final thing that prevents us from committing to a contract is fear of the lawyer and his fees

These set of circumstances are what prevent people from entering into formal contracts.


Sabi sa law, a contract is a meeting of minds between two or more people where one binds himself with respect of the other.….sabi ng prof ko na si Haydee Yorac, dapat may honor where one binds himself with respect to the other to give something, service. Entering contract is not just signing your name. Everyday we sign into contracts, hal. Sabihin mo sa kaibigan mo, nood tayo ng movie, kelan, after lunch, tapos hindi ka sumipot…

Ang ibig sabihin lang ng contract ay I do, you do or we do, you do.

  • Sale
  • Loan
  • Commisioned work
  • Regular work
  • Contest – may rules na sini-set for national artists, ilang taon na ang nakalipas…

Scopes and Limitations of contract (Art, 1305, Civil Code)

“The contracting parties may establish such sstipulations, clauses, terms and conditions as they may deem concenient provided that they are not contrary to law, morals, good customs, public order or public policy.” Effect: Contract is Void

Contrary to morals

Contrary to public order


Unauthorized Insertions

Ang nakalagay lang sa kontra, 50 pesos lang ang babayaran mo pero may additional 50 pa pala. Sabi ng supreme court “…the unauthorized insertion will be disregarded while the original terms should be followed.”

Contract of Adhesion

There is no freedom to bargain. Sabi nga di ba dapat may meeting of the minds.

The option is to accept or reject the terms of contract.

If the person signs, it means he accepts the terms of contract and is bound thereby.

Paano hindi nagiging valid ang contract?

  • theParty did not understand the tems of the contract written in a language not his own
  • a contract signed under duress
  • signed as a minor

Copy right

Copy right is the basis of business opportunities and entertainment

It can be big money



Copy right is different from trademarks and patents

Trademark pertains to commercial or business names or mark

Patents refers to technological invention



Copyright is the bundle of rights relative to the attribution of ownership, use, assignment of works of arts, and remuneration and artists…

What is copyrightable (original works)

-Books, pamphlets, articles and other writings

– Periodicals, newspapers

-Lectures, sermons, addresses, dissertations prepared for oral delivery, in whatever form


-theater and other live performances

-Musical compositions

-all forms of visual arts and architecture

Copyrightable: Derivative Works

Derivative works are works that come from an original source by way of adaptation or conversation from one genre to another.

Derivative works are conferred same copyright status as original works.

Not copyrightable




-Method or operation

-Concept, principle, discovery

-Mere data

-News of the day or press information

-Official text of a legislative, administrative or legal nature


Copyright Protection

-Economic rights

-Moral rights

Fair Use

-Fair use is a concept relative to the royalty use of a copyright work.

-Satire and parody is considered fair use.

-transformative use is fair use

Fair use analysis

-What is the purpose and nature of the use?

-What is the nature of the work

-What is the amount of the work copied

-Fair use is a concept relative to the


The photo of art rogers, is it copyrightable or not? Jeff Koons turned the picture into a sculpture. Is it a fair use violation? It is not transformative art, although there is a media change, kailangan pa rin magbayad ng copuright.

Special copyright category

-Indigenous peoples rights act

Contract Checklist

-Names, and basic information of parties

-Capacities of the parties


-Particular services to be rendered and submission deadlines

-mode of payment

Provisions in case of breach

-venue in case of suit

– tax payment




Additional discussions

-Copyright notice

-if commissioned work

-if part of work description

-if not part of work but during office hours

-limitations on copyright granted

-grant of derivative/subsidiary rights

-authorship credit

-ownership of actual work

– arbitration in case of suit



Red Flags

-Any of the parties is not known to you

-any of the party do not want to sign

-any of terms of the contract is vague

-the service shall be delivered in a place other than the Philippines

Actual places

-Job sourced from the internet

-A poet’spoem was published on the wall of a posh restaurant

-Contractal dealings with the government, sobrang daming paperworks, kailangan ng bidding


Q & A

Question: Kung sinama mo sa isang article ang isang restaurant (ten best restaurants), pwede bang huminig ka ng bayad?

NP: May journalistic ethics involved. You’re risking your credibility kung hihingi ka ng bayad.

Question: Is copyright automatically granted?

NP: Yes.

Question: May isang gov. official na gustong magpublish ng speeches, niya kasama yung newspaper clippings, fair use po bay un?

NP: Yung speeches, sa kanya naman yun. Walang copyright infringement. Kung news tungkol sa kanya, kailangang humingi ka ng permiso sa publisher.

Question: Tungkol po yung tanong ko sa mga kuwento na related sa iba pang existing na kuwento. Parang continuation ng existing na kuwento, parang Hills like White Elephant ni Hemingway tapos recently may lumabas na White Elephants like Hills, kailangan bang humingi pa ng permiso?

NP: May concept ng Fan-fiction. Gray area, because right now hinahayaan sya ng mga may-ari ng copyright para sumikat yung work pero I’m sure kapag naging economically viable na yan, the copyright owners, sasabihin nila akin yan, kailangang bayaran yan. Yung sinasabi mo naman it’s a derivative work and at the same time it’s an original work, parang square you flip it over and you see it from another angle.


Q: Kung gagawa ako ng kanta na halo-halong lyrics ng ilang kanta, makakasuhan ba ako?

NP: Kung parody, pwede ka magbayad. Ang song kasi lyrics saka melody, kapag lyrics lang yung ginamit mo, hindi ka nila mahahabol kasi wala naman silang copyright sa mga salita otherwise hindi na tayo magsasalita.

Q: Nagshoot kami ng music video ng banda namin, kaso may mga celebrity na aksidenteng nakunan paano po kapag sumikat yung mtv, mahahabol po ba kami?

NP: Kailangang papirmahan mo muna sila ng waiver.


Retelling stories


Retelling stories of untold histories of indigenous groups and there are questions by which to describe: are there facts and hard rules in retelling the stories of indigenous group? Will the stay faithful to the stories? What stories should be rewritten and what untold stories are yet to be written?

Introduction ng Moderator.

Humans are good in storytelling. We retell tales that are elders told us when we were children. Some meant to enthrall us, to bring children magical places, others to frighten… we passed all accounts through excruciating details to our friends and families, to people who are willing to listen or not…

We are also good in manufacturing stories, at times, some of them, fortunately or unfortunately, bound to insinuate themselves through time…

Ngunit paano ba magkuwento ng malapit sa reality?

Because details may change in retelling. These changes are impacted by each person’s biases, most recent experiences, pestering sentiments, memories, imaginations, and even fantasies…all human.

We ask the question because on the field of anthropology, the retelling of the stories of the indigenous people are framed by the discipline within parameters. There are necessary conditions, ethical rendering or translation/ interpretation, sensitivity to the culture that one is presuming to present to its narrative, depthness in assuming what is formal, structural, etc. when faced the field worker.

Field worker cannot be neutral or unbiased as an ethnographer or anthropologist

The modus operandi of ethnographers and anthropologists are collecting stories, how to transmit and share them…

how best to be faithful to the stories one is retelling

Pinakilala ang dalawang anthropologist. Nasa pamphlet ini.

Dr. Analyn Salvador-Amores

She came all the way from Baguio.

– She talked about the lessons from the field, primarily from the discipline of an anthropologist, telling stories, writing ethnographies about the IP.

Doing field research and writing ethnography about Cordilleras is not just a matter doing first hand field work. It also entails about deep reflection, and more importantly, a personal engagement that would enable the researcher to remain faithful to the narrative of the people. The challenge is to link places and people, distant and nearby, and to accurately represent them in the ethnographies that anthropologists produced at the end of a rigorous field work.

Field work for an anthropologist is the most difficult but most important task.

There is no singular methodology that a researcher can easy follow to guarantee the production of a good ethnography.

She recalled her field work adviser: How do you write ethnography? And the only reply was: just write with the pencil and paper…The methodology is really not taught to you

She discovered, as a field worker in Cordilleras in 1996, writing ethnographies for IP is not an easy task. Writing a good ethnography does not come naturally and equally to everybody. But to perform field work and writing as a ritual takes an arduous task. This is also a distinctive requirement and a defining purpose and at times almost a seeming definition of the discipline of an anthropology. I began serious research on a different community, right after my post-graduate in anthro in UP.

What I have discovered through the years is that learning to write up the results of field work is a continuous learning process.

My own researches involved that examination of the maintenance and of changing identities through temporary and permanent bodily adornments, both locally and in diaspora. For example, the tattoos of the Ibaloi mummies in Benguet, and also the contemporary renditions of tattooing in the present, cordillera material culture, such as funerary material textiles, revitalization of an endangered language, heritage preservation and awareness. And also the repatriation of the tribal photographs and other historical documents back to the communities and of course, my recent excursion, the anthropology of religion, especially the Mumbaki of Ifugao. I also expanded, on comparative researches in Taiwan and traditions in SE Asia.

My argues that in faithfully retelling stories of the IP groups, the ethnographer opt to know the rigid methods of anthropology. And more importantly, to highlight the role and responses of the field worker as an individual in apprehending the indigenous work through a particular perspective, personal experience and imagination. This is also a challenge to have a meaningful sustained description and interpretation of the indigenous culture in the cordillera.

Sometimes, some researchers go to cordilleras to do a parachute research, like overnight research, and they’ll say, they already captured the story behind in this particular practice. But that is not always the case.

As there are no hard rules in retelling stories of Indigenous groups. This presentation highlights lessons from the field that can help in writing a good ethnography. Magbubukas din ng mga bagong research that we can pursuit later on. For instance, one of the landmark methods in antrhop is field work, so in fieldwork, you immerse yourself to the culture, and fieldwork is common term shared in other disciplines, humanities, sociology, etc.

Conduct fieldwork

Anthropological fieldwork is a deep process of personal engagement, of close interaction that quietly seeks the local termz of the cultural life of the people through an extended period of time – it is usually a year or more, even 20 years, depending on the nature of your study.

Fieldwork is like detective work, pursuing an elusive truth that might disappear if once tainted the ink too clearly. – quote niya kay Marcus shit.

In order to capture this narrative, it is importantly to have clear sense of working within while looking beyond. One must adapt and reach out selectively to the deeply rooted traditions of the people by undergoing a fieldwork process… as a cultural endurance. This a process of becoming one.

Not necessarily means that an anthropologist should become a native of a culture, that is not always the case because no anthropologist can become an insider of a culture. But to immerse oneself in culture.

Further, in anthropology, we only hold partial truths, this is the idea that for ethnographies it is impossible to reach one truth. Writing ethnography is not about quest for ultimate truths but get thick description, capturing the complexity of culture through rigorous fieldwork and judicious interpretation and observation.

Pinaliwanag niya na sa unang niyang dating sa field, meron siyang 2 page guide questions. Ngayon, nang ginagamit niya iyon, kung anong nakasulat doon lang din ang nakukuha niyang mga sagot. Very random ang sagot

I found out that real conversations start with sharing meals, seeping coffee, and participating in the events from birth to death, everything that matters to the people, like, gossip, it is also a form of social interaction.

There are also challenges such as the issues of consent, date to share and to reveal?, anonymity, in other cases, my motives in the fields are also questioned. I took month to build social relations o makipagpalagayang-loob sa community. Problems din sa what to say, and what not to, what to analyse to continue

Tinatanong niya ang pakiramdam ng nagtato, kung gaano kasakit, etc. “I could not fathom the intensity of pain.” Eventually, nagpatato rin siya para malaman. “I was encouraged by the elder women to get tattooed.” Doon niya nalaman ang process at experience “that allowed me to full understand pain, how is it to be tattooed in a traditional way, this process was an experiential part that allowed me to fully understand clearly.” “I was then able to record it on my writing, initially, the main task of my 16-month anthropological fieldwork was just to document the traditional tattoo practice.”

I never imagined that I could be tattooed. But the process of becoming impacted my writing as an ethnographer. I note here that writing about IP can start out experientially but laters, experimental yearnings and vice cersa.

2nd. Collaborative work with communities.

Ikinuwento niya saglit ang engagement niya sa community sa Nueva Vizcaya sa Isinay, endangered language ang paksa, 1% lang ng populasyon ang nakakasulat ng Isinay, about 2,000 speakers

My engagement in the isinay people also confirmed the dialogical type of ethnographic research and writing that included the scholars and researchers as actors rather than invisible observaers to come with thick descriptions. This new way of writing combined with peoples voice and incorporating my experiences rather removing myself from the interaction was a challenge.

Nalaman niya tuloy ang history, language, at culture through social interaction.

Collaboration with the communities also provided a catalyst for changing the kinds anthropoligcal researches that I do and at the same time, they can assert their identities through rigorous research and investigation.

3rd: clear articulation and description

Neither fieldwork nor anthropology matters, what matters most is the lives of those who do such things. Why do they prefer rituals, taboos, tattoo, etc.

Para malaman ang indigenous life, to achieve the biography of events is to provide an analytical explanation of an indigenous culture. And more importantly to be able to communicate these to readers. If a scholar is unable to this, it becomes a failure to accurately represent the indigenous groups. The anthropologists task is to give order and meaning and represent this systematically and effectively. Anthropologists are also ___ of cultural translation, in the circulation of words and images. They also have this kind of cultural sensibility, and they should make use of this ability.

Problems of an anthropologist: they are always accountable to people whom they got close to during the course of their research.

You have to analyse (headhunting) base on the local context and symbolism of that particular group.

  1. The role of women and traditional practices
  2. The bodily adornments
  3. Photographs, maraming litrato sa ibang bansa na maaaring maibalik ng mga scholar sa mga community, repatriation of photos and artifacts
  4. We lacked of literature, and information about our Heritage – intangible and tangible. Ang DPWH, nagdedemolish lang without really carefully examining value of a particular site

To conclude, 3 point ang pinresent niya on how can you be faithful in writing the ethnography of the indigenous groups.

  1. Conduct fieldwork
  2. Collaboration with the communties
  3. Articulate clearly with a thick description


Dr. Padma Perez. Anthropologist by training and writer by heart

Nasa pamphlet and description

Title: Writing on/ with/ of/ for/ by…


Are there fastened hardrules for retelling stories from indigenous group?

How writers and reserachers stay faithful to the IP narratives?

As an anthropologist, we are obliged to protect the identities, privacy and dignity of our research participants. We are duty-bound to question ourselves repeatedly and incisively over the possible repercussions of publishing work on our research participants especially if the community is vulnerable. We are obliged to seek the consent of the community. First, to even be there, doing research in the community, second, to disseminate information in whatever form about the community.

Our code of ethics makes writing about IP challenging.

Does the similar code of ethics exist for the literary writers, playwrights, poets, for screenwriters, novelists, and if doesn’t, should such code of ethics be imposed to the literary writers writing about the IP?

The main character of Un Bel Ti, short story by Edith Tiempo, is a daughter of an Ifugao woman and a Batangueno mayor. “She’s considered a little bit of a freak” by fellow members of a woman federation in Negros where she is married to a sugar baron

She’s not a stereotypical indigenous character, well-educated… and she’s a chair of the program committee of the federation.

The story opens in a party organized by local artists, singing Un Bel Ti, the famous Arya, madame butterfly.

To make a long story short, as the story progresses we learn that Marina, the Ifugao daughter, whom she calls a pagan, is a published poet, a teacher, and an avid reader of literary heavyweight such as Proust, Poe, Hemingway, Sartre, Kierkegaard, etc.

A former lover, an American, works in the same sugar mill as her husband.

The only indication showing of indigenousness of Marina sa nostalgia Naalalala niya bigla na sumasayaw siya sa open ground, family during festivities at home. In the end, her husband was bound to be accused of diverting at nagbbenta ng sugar sa Chinese merchant. Part daw ng sugar cartel.

Pinrotektahan siya ng former lover sa scandal. Hanggang sumayaw siya ng sayaw ng ancestors, barefoot.

A recurring theme for Edith tiempo, one way of dealing with pain in the present is return to ritual.

This story for me astonishes, I love it because it raises some questions that would be writers of indigenous stories might ask themselves. It raises questions about how we social scientists and creative writers represent the IP, about time and place, the context in which we imagine and narrate indigenous lives, about essentialism, and the romance of the exotic, which are, in their own perverse way, forms of forgetting.

How are exoticism and essentialism forms of forgetting?

Let’s ask ourselves, when are people indigenous? Are they indigenous in a distant past? Or in the eternally repeating, eternally never-changing ethnographic present? The ethnographic present is the way of writing about or describing indigenous people’s lives and ways as though they have been the same and have remained untouched since time immemorial by politics, global economy, capitalism, colonial/neocolonial history. In short, the ethnographic present describes the indigenous people’s past, “people without history,” Eric Wolff(?)

Whenever someone insist upon exoticizing IP in their narratives, and freezing them in time, he or she forgets that there are unfolding histories in this country that are different from but integral to national narrative.

If they are modernized, are they still indigenous?

My emphatic answer to that is, Yes! Yes! Yes! Yes!

We might even argue that being indigenous is a modern condition, clearly there are those who continue to imagine IP’s as frozen in time, performing ancient cultural traditions for the benefit of metropolitan gaze.

This can’t be further from the truth. IP’s often stand beside those who take up this point of view without the latter realizing this contemporaneous presence, this shared existence.

Where are people indigenous? Are they indigenous only in their ancestral domains, their sacred lands, their forests, lakes, and seas? Out there but not here in this Literary Festival, or in the gathering of the wives of the upper classes in Negros drinking tea and only half istening to Puccini(?)’s Madame Butterfly?

How about in congress? In the senate? In call centers, universities, rallies, malls, marketplaces, spas, bookstores, in courtrooms as judges, in the hospitals as doctors, or abroad teaching poetry in a university in Oregon, running a restaurant inBrooklyn, or scouting artforms for exhibitions in galleries in Paris, or in Hong Kong, caring for other people’s children for a living?

Much has been said about anthropologists, authorship and authority. It’s a multifaceted problem often are research participants are more controlling and powerful than we let on in our ethnographies. The balance of power between researcher and researched is constantly shifting, negotiated. But the power of both social scientists and creative writers have that needs to be spread around more and shared more is the power to make oneself heard or read in different venues by different audiences.

If we want more Filipinos indigenous narratives circulating in the world, we need to do more to enable IP to write and publish their own stories and histories. Panels such as this should be filled by indigenous writers and scholars not scholars on the indigenous.

What stories may be written and what untold histories are still to be written?

Books for the indigenous kids, I want to talk about my growing interest in books for indigenous kids that are being produced in the country. And to encourage you to participate in creating such books.

Why do we need more books for indigenous children?

We are mandated to push for IP education in the Philippines and for indigenizing our educational system. For early literacy and literacy for children to be able to recognize themselves to the stories they read. Maybe a story about the child growing up in Kalinga rather than a story about a white fairy – Tinkerbell.

Philippine children;s literature is rich but also overwhelminglu about the kids whi lived in the cities and belonged to the middle class families and are Christian. There’s not enough about kids who don’t lived in this context.

We need diverse books because you got a whole lot of charming names of peole, written on paper…

Filipino children deserve to know more about roots and about different ways on being a Filipino

Other things to consider, of course, are gender, age appropriateness, ethnographic accuracy, this is more important and should emphasis very much, we can’t go around writing stories for indigenous kids if what you write is not true, to culture and to the community.

Of course, respect for culture, recognition because as awriter your personal biases might be creeping in the story, and also there is a problem … of translation.

Collaboration and research. Dapat pumunta ulit sa community para sa validation ng iyong gawa,ng accuracy, values, at facts, rituals. At dahil may isyu kung magiging mabenta ang mga ganitong libre, you have to be creative sa paggawa.

Nagpakita siya ng mga example, etc. etc.

Again, it’s the production of the indigenous children’s books has to be based on collaborative relationship, I don’t think it’s useful or truthful or fair to IP communities to just take their stories and write them without making contact.


Sex & Sexuality

Participants of this roundtable discussion may delve into writing about sex and sexuality from one’s own experiences and beyond them, share about their own work and those of other writers. The session may include challenges in the craft, importance of writing about sexual diversity, aspects of LGBT culture, and more.

Date: April 28, 2016

Start Time: 11:00

End Time: 12:00



Mayette Bayuga

Joel Salud

Bernadette Neri

  1. Neil Garcia



Ferdinand M. Lopez

  1. Neil Garcia

Representational writer

I don’t necessarily localize my writing

Interpretations are contextual

I have been called a gay poet

Being called a poet is pretentious

Gay denominates a perspective or a subject position

Mayette Bayuga:

Paano isusulat ag sex at seksuwalidad kung virgin ka pa? Lilimitahan ko sa tatlo ang akong ibibigay na puntos.

  • Hindi ikaw ang pangunahin o sino man sa mga tauhan

Parang mantra, paulit-ulit ko itong sinasabi sa sarili ko nang isulat ko ang mga nobeletang erotika. Sa panahong itong wala nang ginawa ang marami kundi isigaw ang “hugot,” isang praktikal na paalala lang ito. Halimbawa na lang, paano kang huhugot sa sarili tungkol sa sex kung hungkag ka sa karanasan? O kung certified manang ka pala? Pero hindi ibig sabihin ng mga limitasyong itong di ka na pwedeng magsulat tungkol sa sex. Alalahaning malawak, siksik-liglig, at higit sa lahat, malupit ang imahinasyon. Sa totoo lang, napakamakapangyarihan nito lalo na kapag nakanti ang subconscious.

Alalahanin ang numero unong sandigan ng mga manunulat – Pananaliksik with a capital P.

  • Malaya at mapagpalaya

Kung magsusulat ka tungkol sa sex, dapat malaya ang iyong diwa. At higit sa lahat, dapat mapagpalaya ang iyong kwento. Hindi maaring yakap mo ang iyong limitasyon, ang mga hang-ups at ang mga takot. Marami ako no’n. Kaya kinailangan ko ang pagbabalik-tanaw sa mga feministang pilosopo/manunulat na nabasa ko at napag-aralan matagal na panahon na ang nakaraan. Sa kanila ko unang narinig ang ideya ng “celebration of the female body.” Ninamnam ko ulit ang mga natutunan ko sa kanila, lalo na sa nagging paborito kong si Luce Irigaray. Kahit pahapyaw lang na binalikan, malaking tulong ang kanilang pananaw sa kababaihan at sa katawan para bigyan ako ng lakas na lumikha ng mga babaeng tauhan na lihis sa karaniwan – walang inhibisyon sa sex, hindi sakop ng moralistang pananaw, o nakaigpaw na sa tradisyunal at kultural na lugar at lagay ng kababaihan sa lipunan. Natulungan nila akong ilagay sa isang konteksto ang kabuuang gusto kong ibigay.

  • Ang Tunay na Mukha ng Erotika

Napakaganda ng mukha ng erotika. Kapag hindi ito saklaw ng formula, maraming maaaring gawin. Ang kuwentong erotikang matagal ko nang gusting isulat ay kuwento ng babaeng nag-iisa, walang kapareha. Ang erotisismo ay galling sa kaloob-looban niya. Ang bawat galaw, halakhak, salita, tingin, at hinga niya ay erotiko.

Gayundin, may mga takdang mambabasa na ang erotika. Dahil diyan, mausay itong gamiting lunsaran sa pag-aangat ng kamalayan. Maaaring tahini ang ilang mahahalagang isyu ng lipunan, ang yaman ng kultura’t kalinangan, o ang pagbubulay-bulay ng espiritu sa kuwento nang halos di namamalayan, pero siguradong maiintindihan ng mambabasa.

Berndette Neri:

Naratibo sa Panitikang Lesbiyana ng Pilipinas

NARATIBO – maikling kwento ng mga lesbiyana.


Oryentasyong sekswal

Pagkakakilanlang pangkasarian

Pagpapahayag ng sarili

Lesbayana- mga babaeng nagmamahal ng kapwa babae

Iba’t ibang pagpapahayag sa sarili

Ang panitikan natin ay salat na salat sa mga nagtatala ng mga karanasan ng mga lesbiyana.

Bihira ang tumatalakay sa lesbiyanang karanasan at pag iral sa lipunan

Mahalaga na nagsasalita ang lesbyana para sa kanya, to define kung ano siya.

Ang mga naratibo na ito ay maglalaman ng mga lesbyanang karanasan at pag-iral na labas sa lungsod.

Paano ba maging magulang ang mga lesbiyana?

Naratibo II ang mga Tibo sa kasaysayan

Posible bang umiral ang mga lesbyana sa ibat ibang yugto ng kasaysayan natin?

Nagsusulong ng adbokasiya ang panitikang lesbyana at kababaihan


Joel Pablo Salud:



Question 1:

Problema ba talaga natin ang gender? Kasi ang tingin ko hindi gender ang problema.

  1. Neil Garcia:

I think ‘yung tanong mo is bakit kailangan magkaroon ng particular genre—lesbian/gay writing—when there are other more important issues to talk about, is that your question?

Hindi naman kami single issue writers. I mean, ‘yung mga kini-create naming characters, lesbian or gay, hindi naman ‘yun lang ang kanilang kaisa-isa katangian. Meron silang konteksto. Meron silang mundo. At meron silang pagkatao na maraming mga aspeto. Bakit kailangang i-put sa forefront ‘yung sekswalidad? Kasi, importante siyang pag-usapan. Importante siyang i-recognize na issue siya.

Basically, we all came from a background of shaming. When I was a child I was teased as bakla, and that was painful. That hurt. And it’s something that was difficult to accept in oneself and it’s difficult to actually tell your family about it. So hindi siya balewalang issue. Hindi ko alam kung bakit nagkaroon ka ng impresyon na balewala siya. Siguro dahil kasi may mga Vice Ganda na… Akala mo e hindi na siya problema. Siguro, put yourself in the shoes of a gay man or a lesbian in this culture. Probleman siya.

Bernadette Neri:

Sa haba ng kasaysayan, napakalaki ng posibilidad na matunaw o hindi makilala ang parituklar na pangkat ng pangangailangan at isyu ng mga taong may iba’t ibang kalagayan. Nagkataon sa kaso ng aking panulat, nagsusulat ako bilang isang lesbiyana. Pero nagsusulat din ako bilang Pilipino; nagsusulat ako bilang guro; nagsusulat ako bilang babae; nagsusulat ako mula sa uring magsasaka.

Pero ang aking lunsaran ay iyong isang bahagi ng aking identidad, at ito ang pagiging lesbiyana, nang hindi naiiwan ‘yong iba ko pang bahagi. Hindi ibig sabihin na nagsusulat ako ng naratibo e wala na akong konsepto ng grand narrative.


…pinili kong magsulat bilang lesbiyana ngunit hindi nangangahulugang iniiwan ko ‘yong iba pang kaugnay na usapin.


Question 2:

Masasabi niyo ba na there is such a thing as trash na erotic piece of literature? And what makes it trash if there is?

Mayette Bayuga:

Kasi ayokong nagbibigay ng kategorya. Ayokong sasabihin na ang isang bagay ay isang trash. Mahirap. Ayoko sanang sagutin ng direct. Another thing, hindi ko nabasa si EL JAMES. Sinimulan ko actually pero hindi ako nakarating sa sex na part. Actullay para siyang romance. Mahaba ang exposition. Kasi tanong ko rin yan e. “paano mo masasabing tinawid mo na ang pornograpiya?” Hindi kailanman magiging pornograpiya ‘pag buo ang kwento…


  1. Neil Garcia

I used to teach a course sex and writing. from sensual to erotic to pornography. And I think I’m gonna go by a philosopher who said that pornography makes you want to possess the object. But art makes you want to stand back, behold it, and bask in its harmony and beauty and symmetry and other things like that. So that’s the distinction. ‘Pag na-arouse ka at gusto mong gawin ‘yung nabasa mo, parang pornography ‘yon. ‘Pag na-arouse ka at gusto mo lang basahin ulit, at ang ganda-ganda ng pagkakasulat, that’s called erotica.


Joel Pablo Salud:

Mahirap sa panahon ngayon na magbigay ng distinction… Ngayon kasi the lines are blurred e… What is actually pornography and what is actually literature… But to actually say that something is trash because of substance, e parang mali naman ata iyon.


Truth from Tragedies  

Writers share about their works that recount and reflect on tragic events like crime and calamities. Topics may include issues in research, challenges in the craft of writing, and the significance of capturing witnesses’ and survivors’ accounts in a retold fashion.

Date: April 28, 2016

Place: Session Room B

Start Time: 12:00 nn

End Time: 1:00 pm

Moderator: Rommel Rodriguez


Anna Christine Torres (daughter: Nicole Torres)

John Bengan

Jeena Marquez


Rommel Rodriguez: Alam natin ang Pilipinas ay napaka tragic ng history, but in the end maganda na makita natin ano ba ang maari nating makuha sa mga karanasang ito.

Nicole Torres: “Truth be told and retold. Writing on disaster”

Memory giving exhibit: gathering memories of July 1990. Celebrating survival, creating and recreating solitary peace. The main point of the event is to say that the forgetting of the disaster was never an option.

Disasters can only be sufficiently addressed from within, meaning from the inhabitants themselves. Despite the national and international support in the disaster.

To guide us through our venture in local history, we first have to post a question, is anthology under the rubric of history? Cultural history, according to Anna Green, is a concept that do not only focus on individual memory but also one collective memory. Or the connectivity of people remembering the past. The common memories of the 1990 earthquake seek to build a living interactive relationship with the past to form a living history. History in this context is that of cultural history. First, it focuses on human subjectivities. Second, it took approach to culture in identifying the unifying structures tattered resistance that prevent the hole. Third, an interpretive hermeneutic approach.

Disaster is conceived of well jack ahead, nearly 26 years after the local have been cleared. The individual and collective memories serve as literary mediation that challenge the political order and in doing so, it helps restore the political policy. The abundance of real suffering tolerates no forgetting. Ignacio Lopez Carlo was correct when he said that literary representations of natural disasters holds a socio political power. It is the same power that transforms experience of catastrophe into one of a survival order. This is why disaster writing has a specific part in cultural history. This is why the disaster narratives is a part of the repository, our memory truth to be told and retold.

John Bengan: I have been writing fictions that depicts the Davao Death Squad, this is a socio-political kind of disaster. I began this project when I was in college. I stopped thinking about this but then, for some reasons, and events, our province was now a center of the media.

My stories are linked by a unifying elements with depiction as well as attempts on explorations of social phenomenon on the city where i live.

Slaughter story is the only story that is based on actual events sometime on 2005, they are organizing a forum about human rights and one of them died. I find it hard to write a story that actually took place, so i tried to explore that in the form of stories as well.

My story “Armor”, 2012, a small time drug dealer contemplates a suicide after a string of problems. Suddenly he saw a sign, an announcement of gay pageant and he says, before I kill myself I want to join this.

My characters are people in trouble, they are people troubled in various forms of violence. Whether actual, psychological, and what Zizek calls systemic violence. A type of violence invisible to the eyes brought about by the often catastrophic consequences of the functioning of our economic and political systems.

No matter where I was in Davao, I hear about the death squads. Several times while walking to the school I would see a dead body. This started in the late 1990’s and continuous in the late 2000. There are list of targets and tells it to the purok and asks them to leave.

How much of these killings are done by vigilantes? How to distinguish the arbitrary acts of violence from the vigilante killings?

I wanted to explore how violence and fear happen in the place where there is a political tension.

Jeena Marquez: Truth tragedy, and reality in Mindanao.

The mythic world we inhabit in our city doesn’t belong to a sphere of distinct from the mythic universe created by the writers of stories. How then do we conceive a truth or reality? As conceptual world are constructed through language, an examinations of how the concept of truth and reality are embodied in words that belong to the lexicon of the language spoken by the people who try the stories of the tragedies which show us how semantic rounds exists between the conceptual world of real and truth, in Visayan the word ‘tinuod’ are referred for both real and truth, it can also mean loyal or faithful.

True is lexical universal, real is not. The linguistic perspective do not conceive of real as a concept distinct from my intention of truth. How then do we conceive of a story that could be believed as one with chronical real events?

‘Tinuod na istorya’ — we, the Visayan, do not have a word for non-fiction.

What we remembered would remain.


Question 1 from Roj Gonzales:

Naniniwala ba kayo na kayang lumikha ng mga artista at manunulat ng isang tinuod na mundo na walang trahedya?

John: A world without tragedy? It’s possible. But my writing are not conscious of this, really. Tragedy is a Western Greek genre. All literature is tragic naman, or there are different meaning of sakuna. Iba iba naman ang ibig sabihin ng sakuna at trahedya. Some writers who do not really want to create another world. Writing about tragedy is a way to contemplate it and transcend it and also to recognise it, so that’s why, attempt.

Jeena: To examine it with the claim. If we think of tragedy as it is, our dictionary would tell you that here are three components and stress. What i would do is to think of its meaning to the language which i speak and examine how this concept is lexicalize as it is and think about the vulture specific configuration of that concept if I were to imagine a world of fiction or non-fiction piece without tragedy. I would seek to understand what the concept really means first in my culture before i would think of other elements.

Nicole: I think if you think of tragedy as kalungkutan mga masasamang nangyari, is to move past back. It is no longer what makes us. It is no longer what is simpleng kawalan. It makes our city better. Sa ganong konsepto ko siya ikakategorya.


Question 2:

For John, since yung mga sulat nyo ay fiction, kailan kayo nasasatisfy na yung gawa nyo ay true? Kailan nyo nalalaman na this reflects the truth?

John: When I start to recognize my characters, when they disagree with me, when I feel like they are moving I feel like they become truthful. If they are still me, versions of me, just me on my perception. But when i feel like we are having a dialogue, that is when i feel like closer to the truth. To my stories about the death squad, Im giving my readers the idea how to live in this condition.

Question 3:

Paano natratransform ng writer through art of writing yung tragedy, to see beauty in tragedy? Is there a beauty in tragedy?

Jeena: The mythic world we have is not this thing from that mythic world created by writers. This things are real for us, we don’t even call it a myth. We grew up like that, we share our physical space with this creatures. So I would begin with that notion, not to conceive this stories as a necessarily mystic but as a part of our shared reality.

John: definitely, I don’t find disaster as something beautiful. I try to think that it’s not the fact that they are depicted in fiction as people who are suffering but at the same time people who resist. These characters who show resistance, who insist in their being alive, in spite of these horrible things, maybe that is beautiful. The tension, the contradiction, even though is we cannot find a definitive answer is a part of what makes it beautiful, satisfying or stimulating or compelling. That’s where I find a kind of beauty.

Nicole: What makes a disaster tragic has a lot to do with the concept of thevulnerability, not everybody is equally vulnerable. Vulnerability is a matter of social and political marginalization. So, disaster is a natural thing that happens to us. They also happen to us because we are people, and because we are people, we are what makes disasters tragic. We are also what makes it beautiful.

Question 4:

I don’t think a lot of people are familiar of tragic stories. What are your plans in moving the tragic stories more popular?

Jeena: Im not sure that’s the job of the writers, as how to market it. Is not what we would be focusing on right now.

John: I agree. But we also have a responsibility we also have the responsibility to show are works in public. Popularizing your work is becoming accessible to the readers. To quote one writer, “history moves on, art never forgets” i would like to think it is not easy to exhaust the way to engage in an artistic works. Popularizing it is just only one way, making sure that it matters to many people is something that we can only hope for. In practical sense, gawin mo syang libro, I publish, at sana may magbasa, kung walang magbasa, sana sa susunod ay may magbasa.


Workshopping the Workshops

Weigh in on the conversation of organizers and panelists of writing workshops in the country as they share what makes their own unique and effective. What happens during workshops as well as after them may be discussed.

Speakers: Michael Coroza, Butch Dalisay, Natz Vibiesca, Ian Rosales Casocot, Mitch Cerda, Ralph Semino Galan

Moderator: Vim Nadera

NADERA: Our topic now is workshopping the workshops. This the last session for today. We have for school-based writers and one independent. We have from PUP, Dr. Renato Vibiesca. UST, Dr. Ralph Gemino Galan, Ateneo, Mitch Cerda, and all the way from Dumaguete, Silliman University, Ian Rosales Casocot. Taga-saan ba ito? From LIRA, Dr. Michael Coroza, also from Ateneo. And of course, from the UPWW, the famous columnist of Philippine Star, the famous Butch Dalisay.

During my time when my waistline was till 32, to enter the world of literature, to be taken seriously you have to win a Palanca, you have to be a Makata ng Taon, to win a Gawad CCP. And all that. And one way of entering, or to be accepted as a writer, you have to undergo a workshop. And when we say workshop, according NCCA, there are only three workshops in the Philippines: in Luzon, the UPWW, in the Visayas, the Silliman WW, in Mindanao, Iligan WW. By the way, IYAS and Iligan workshops are now on going that’s why they’re not here. But still, there are other workshops. Which we cannot, shall we say, prevent from blossoming. As I said, most of them are school-based. In UP, UP-ICW handling the wirters workshop. UST, UST Center for CW and Literary Studies. Then of course, the Silliman WW, the oldest in history. Ateneo WW… Siguro, to give us an idea lang, for the millennials, would you like to start by saying, not necessarily the mandate of your school… How can one enter na lang…qualify?

Galan: Obviously, you have to be a good writer to be able to qualify. I think in the other workshops, that’s one of the basic criteria. As far as I know, when you submit your work, they evaluate your work.

NADERA: Anong kailangan i-submit?

Galan: yung the best. poetry, short stories, creative non-fiction, Filipino or English. Except sa Iligan. UST, English and Filipino rin… One act play. Sa Baguio ito ginaganap.

Casocot: Silliman. Same process lang din tulad ng iba. But I’ll just talk about how we do it this year. We put up a call for submission sometime in the middle of the year, we asked for three short stories, 10 poems, 3 CNF, at least, one act play. Usually, we only accept works written in English. In the history, the SWW, we actually accommodate a regional language before, Cebuano literature. 70s, I think. But it only happened in a year. Usually, we select only 12 fellows. And sometimes, 14. We do consider the best of course. But sometimes, we have to consider as well the gender. Because the workshop is being held in a house in a village, in Valencia, it’s a town near the Silliman University, the fellows are housed in cottages and only have a few cottages so we have to consider, parang, wag naman all girls or all boys, we have to consider the distribution. May gender consideration, and also regional din. But it is also depends on the current director of workshop. Ricky this year, he really wanted na yung fellows ay galing Visayas at Mindanao. So, it really depends. Right now, mostly, works in English ang inaaccept.

Cerda: Para sa Ateneo WW, similar din in a way sa mga workshop sa Pilipinas. Sa amin, lalo na simula nang nagtake over si ginoong Allan Popa sa AILAP, nagiging conscious din kami kung ano pang mga puwede naming ibigay sa iba. Halimbawa, for the past few years, tinatawag nga naming ating iugat ulit ang pagsulat sa community, sa pinanggalingan, conscious din kami sa paglikha ng mga ganong ideas. Three years ago, pinasimulan, sa literary editing at independent publishing. This year, sinunod din namin yung ideas para sa workshop, community-based din, parang focus this year, pumipili kami in terms hindi lang ng quality, kundi mga writers na posibleng magrepresent sa mga groups, magpasimula ng mga organization sa mga areas nila, regional din, pero in the past few years, parang tumatatag na yung mga regional writers, may ganoong kaming pagtingin, nag-aaccept kami ng tula, 5 tula, 3 kuwento, 3, sanaysay, 2 maikling dula. Hindi naman exclusive sa mga Atenenista. National din naman, gusto rin naming balansehin, hindi lang ito Ateneo-centric, o manila-centric, na parang workshop. Gusto naming maging diverse din yung fellows at panelists namin para sa workshop.

Coroza: Ang LIRA po ay palihan para sa tulang Filipino. Kaya ang tinatanggap ay kung sino mang gusto matuto ng tulang Filipino. Sa tula talaga nakatuon ang pansin ng palihang ito. Na nagsimula pa noong 1985. Tatlumpu’t isang taon na ito. At kinagagalak ko pong ipaalam sa lahat na ang atin pong moderator ngayong hapon, ay ang unang nagdaan sa palihang iyon noong 1985.

Nadera: Wag mo na ipaalala.

Coroza: Tatlumpu’t isang taon ang nakararaan, dumaan po si Dr. Nadera sa palinhang iyon. At ang nagtatag ng palihang ito ay ang ating Pambansang Alagad ng Sining na si Virgilio Almario, ang makatang si Rio Alma. Ang totoo, ang pangalan, bago ito naging LIRA, ay Rio Alma Poetry Clinique. Ang palihan na ito ay halos tumatagal ng halos anim na buwan. At ang pamamaraan pa nito ay tuwing araw ng Sabado at Linggo, mula Hunyo hanggang Disyembre… Magkakaroon sila ng commitment, na mag-aral ng kasaysyan ng Tulang Filipino, sining ng Pagtula sa Pilipinas. Kaya mahaba, may kurikulum na sinusunod. Dati ay libre ito. Nitong nakaraan, napansin namin na nagpapa-xerox kami ng handouts at iba pa, nagpapakain ng mga tagapagsalita, naniningil na kami ng parang tuition nila, na ang halaga naman, noong una limang daang piso, ngayo’y isang libo na. Pero sa anim na buwan, nakakagarga na sa isang libong iyon ay lahat ng mga handouts, etc. At ang mga tagapagsalita, hindi lang naman mga miyembro ng LIRA, kundi pati ang mga espesyalista sa larangan ng pagtula. Ang tinatanggap sa palihang ito ay kung sino mang interesadong matuto sa pagtula. Kung hindi man maging mahusay na makata pagkatapos, ay baka naman maging mahusay na guro ng tula. Ang kailangan lang ipasa ay lima hanggang sampung tula. Titiyakin lamang na handa pumunta sa workshop mula Sabado hanggang Linggo mula Hunyo hanggang Disyembre.

Vibiesca: Para naman po sa PUP NWW, dahil ito ay kauna-unahan, sa May 16, ang simula. Very ambitious po ang PUP, ginawa naming multi-genre ang workshop, sampung genre. Bukod sa mga regular natin na short story, nobela at tula, meron din kaming mga screenplay, dula, graphic lit, merong sa kanta, CNF. At iyon ay gagawin sa PUP Mulanay campus, by the beach. May mga sponsor po diyan, yung NCCA at NBDB. Ang CCW sa PUP ay 3 years old pa lang. Ang preparation namin, ay extensive talaga, kaya sa PUP Sta. Mesa, nagho-hold na kami ng mga workshop among the students of PUP. Regular ang aming mga workshops at nag-iimbita kami ng ibang mga writers para magbigay ng workshop.

Dalisay: The UPWW is the 2nd oldest WW in the Philippines for CW, sumunod lang kami sa Silliman Unibersity. Ang Silliman nagsimula noong 1962, UP 1965. This has been going on practically uninterrupted every year. May mga taon pa ngang higit sa isang workshop ang naisasagawa namin, 50 years na ito. At minsan kailangan naming ipaalala sa administrasyon namin iyon kapag humihingi kami ng suporta. Actually, isa kami sa pinakamatatag na institution ng pamantasan ng Pilipinas, dahil walang tigil taun-taon may mga workshop kami, at sa nakaraang 50 taon na ito, kung bibilangin natin, sa palagay ko ay halos isang libong manunulat na ang dumaan na sa workshop ng UP. And it used to be an essentially ritual of passage for almost young writers to go through, at least, one of these workshops. Noong panahon na iyon, Silliman lang at UP. In fact, hindi ako dumaan ng UPWW. Dumaan ako sa Silliman. I really thank the Tiempos for bringing me back into writing, to one glorious summer in 1981. And going to Silliman, I quit my job. I just want to write, study and teach from now on. That’s how seminal it was to me. Pero pag-usapan pala natin yung WW ng UP, iba kami sa karamihan ng mga workshops sa atin, kasi ang tawag naming sa UPWW ngayon, mid-career workshop. What does career mean? In our definition, it means, to qualify for the workshop, you have at least published one book, or have had one major play produced, presented, one big film project. In other words, this is not a workshop for newbies. As it used. Mga sampung taon na po ito na mid-career workshop ang UP. And this, really, defines a good kind of contour or development for writers in our country. Kasi puwede silang magsimula sa ibang workshops at later on, kapag published na sila, ang tinutumbok kasi naming pangangailangan, halimbawa, medyo mga 35 anyos ka na, wala ka nang mga nakakausap masyado sa panitkan, sa pagsusulat, napunta ka sa advertising, pero gusto mo pa rin maaalala na manunulat ka, na kaya mo pa rin magsulat ng isang nobela. People in did-career ay kailangan din ng tulong as much as the beginners because writing in this country is not a lucrative business, there is always a temptation to you to quit writing in move on into something else. At ang mga taong ito ang hinahanap namin at binibigyan ng panibagong dahilan para ipagpatuloy ang kanilang pagsusulat. For good many years now, UPWW has been held at Baguio, pero ngayong year, for the frist time, we are holding it in Los Banos. And we look forward to moving workshop around the country Ups other campuses. Baka next sa, doon sa bagong tinatayong UP Clark. What do we require? 12 fellows. Aplikasyon lahat ‘yan, walang bata-bataan diyan. Kahit na teacher mo ako, sasabihin ko sa ‘yo, Uy, mag-apply ka. Seryosohang trabaho ito. Including, basically, why write what you write, in other words your poetics. At ipi-prisinta mo ito doon sa workshop. Doon sa workshop sa UP, na hindi na ito kagaya ng nangyari noon na parang, Nandtito ‘yung mga masters ikaw nandito, tapos sasabihin sa ‘yo, ‘wag ka na magsulat, magtanim ka na lang ng kamote, paiiyakin ka. Hindi nap o ganyan ang workshop ngayon. Kasi hindi naman talaga nakakatulong yung ganyan. We talk more or less as peers. Ito welcome, sumugal ka dito at magtulungan tayo at sasabihin naming sa ‘yo kung paano ka pa uunlad sa pagsusulat.

Casocot: Panelists. We have the director, he handles the workshop for two years…

We have a new set-up right, our regular panelists are, Krip Yuson, Marjorie Evasco, Gemino Abad, Susan Lara. Of course, Dumaguete panelist, Cesar Aquino at ako. Bagong set up is we have guest panelists, this year, Nikki Alfar, Katrina Tuvera. Four years ago, if you noticed… we are trying to kinda try to be different. What we try to do is we try to internationalize…so we have had some international panelist like, from Hong Kong, we have ___, we had writers from Singapore, Japan, now we have from India, and Taiwan. So, that’s what we’re trying to do right now. We are trying to internationalize.

Galan: We have a socalled resident fellows, or members of the UST CCWLS, Dr. emeritus C. P. Hidalgo, 12 of us. Since we have very close ties with the Varsitarian, Joselito Sulueta, we agreed to… for guest panelists this year… we have University prof. Gemino Abad, and the other one, in case you have forgetten Vim, it’s you.

Cerda: Mga Atenean na mostly established na rin ang kinukuha namin. Nag-iinvite din kami na galing sa ibang school. Tina-try namin ‘yung mga panelists na mostly, may experience sa mga NGO-work, community-work, Kalikasan nature, preservation Bliss Atienza. Tina-try namin na, yung mga writer na established sa academe and at the same time, ini-involved nila yung sarili sa mga activities outside writing. Ang pagsulat ay hindi lamang isang craft kundi may posibilidad na influence, makipag-engage, sa mga groups, audience.

Coroza: Sa LIRA, siyempre ang panelist natin, si Rio Alma. (1985, Mike Bigornia, Teo Antonio, R. Mangahas, Cirilo Bautista, etc) Karamihan ng mga kinikilala at tinitingalang makata sa ating bansa ay iniimbitahan na magbahagi ng kanilang karanasan at karunungan bilang panelist kasi hindi lamang naman workshop talaga, e. May sinusunod na kurikulum, at may mga nakalaang araw para sa mga lecture. Ang ginagawa naming proseso, tuwing araw ng Linggo, may lecturer talaga na imbitado, na magtatalakay ng isang tiyak na paksa na may kinalaman sa pagtula o pagpapabuti ng paraan sa pagsulat ng tula. At pagkaraan, batay sa lecture na ibinigay, nagiging assignment iyon, para sa susunod na linggo. Kaya sa susunod na Sabado, ang pagbabatayan ng workshop ay ‘yung mga natutuhan sa nakaraang lecture. Kaya kapag tiningnan yung pagtula, magiging pamantayan sa pagsuri ‘yung naging lecture noong nakaraang linggo. Kaya linggo-linggo, sinisikap na ang mga fellows ay nagsusulat talaga ng tula at nagbibigay ng sinulat doon sa panel para sa napag-uusapan at matiyak na masubaybayan ang mga pag-unlad nila sa loob ng anim na buwan mula ng sumali sila sa workshop.

Nadera: ang pinagkaiba ng LIRA, organisasyon ng mga manunulat. Ang iba, workshop sa mga paaralan at unibersidad at kolehiyo. Kapag ba pumasok ka sa workshop, siguradong miyembro ka na ng LIRA?

Coroza: Hindi rin naman kasi pagkatapos no’ng workshop, meron kaming ibinibigay na sertipiko ng pagtatapos at merong sertipiko ng pagdalo. Ang s. ng pagdalo, ay dumalo at kahit paano, nakakumpleto naman ng attendance at nakagawa ng mga assignment pero meron s. ng pagtatapos na ibig sabihin na natapos ang mga requirements pero hindi pa rin iyon tanggap

Nadera: Anong panuntunan?

Coroza: Pagkanakatanggap ka ng s. ng pagtatapos, nominado ka ngayon maging miyembro. Pero ngayon pagnatapos s. ng pagtatapos, mayroong deliberasyon pang ginagawa ang mga nakakatandang kasapi at ‘yung folio na matatanggap na mga nakatapos ay pinag-aaralan kung magiging karapat-dapat bang tanggapin bilang miyembro ng organisasyng LIRA. Kaya puwedeng nakapagtapos ka, at hindi ka miyembro pa rin ng LIRA.

Nadera: ito, ito ang pinabata sa lahat, e

Vibiesca: For PUPNWW, since we’ll be having a multi-genre workshop…

Nadera: Kayo lang yata ‘yung ganyan…

Vibiesca: Kaya ‘yung mga set of panelists namin, mixed specialization like, for example, sa screenplay, si Ricky Lee po ang aming panelists. Meron kaming graphic lit, si Manix Abrera, tapos sa, kasama namin si Jess Santiago, para sa music, Eros Atalia, si Mayeth Bayuga, tapos sa dula, si sir Boni Ilagan, tapos sa nobela, si sir Jun Cruz Reyes. Yung iba po ay si Jerry Gracio, si Ka Roger Ordonez, para sa tula. Bale sampu po lahat ng panelist

Dalisay: Sa UP, umaasa kami doon sa tumatao doon sa ICW, mga tinatawag naming fellows iyon and associates, medyo mas bata pa. bago ka makapasok na associate, meron ka dapat minimum na limang libro, in fact, at least sampu. Anyway, ang mga panelists, puwede ko sigurong ipagmalaki, meron kaming dalawang Pambansang Alagad ng Sining, si kaibigang Rio Alma at Bien Lumbera. Kasama rin natin diyan si Jimmy Abad, si Jing Hidalgo, si Jun Cruz Reyes, si Charlson Ong, si Roland Tolentino, ikaw (Nadera, siyempre), sa mga mas bata, sina Luna Sicat, si Eugene Evasco, si Vlad Gonzales, Reyes, kakapasok pa lang, ang isasalang namin sa workshop na gaganapin sa Los Banos. Nagro-rotate rotate kami. One week lang, dati two weeks, at intense ‘yon. Bawat fellow ay mayroon hour and a half ng intensive discussion. Actually, ‘yung totoong workshop, nangyayari sa inuman, e, pagkatapos ng workshop.

Nadera: Hindi ba masama ‘yon?

Dalisay: Ewan ko sa inyo, sa UP, hindi. (tawanan). Wala kaming mga paring magbabawal sa amin.

Nadera: Gusto ko sabihin, kayo kasi nakaisip no’n, e. Yung bagong format ng workshop, si sir Butch ang nakaisip, kasi ang format nito ay kumustahan lang, di ba isa sa pinakamatanda ang UP, so ang gusto no’ng kumustahan, nasaan na ba kayo, ‘yung mga dating fellows ng UP. Naaalala ko pa noon, ang mga first batch, sina Becky Anonuevo, Mike Coroza, Luna Sicat. At naging trademark na rin natin.

Dalisay: Oo, ‘yung first batch na ‘yon, mga de kampanilya lahat iyon, e. Kaya ‘yon ‘yon standards na gusto naming mai-maintain. Lagi naming sinasabi na UP, ‘wag nating ipilit, o ipilit ipasok na talagang obviously hindi pa handa, kasi kawawa lang siya pagdating ng diskusyon. Kaya importante rin, hindi lang sa amin kundi sa lahat ng workshop, to make a certain quality na hindi ka naman magiging masyadong sarado, at importante rin talaga na makatrabaho mo ‘yung nangangailangan ng tulong, e. pero at a certain point, kailangan ng certain standard para ‘yung level ng discussion hindi mataas, kundi angkop sa karanasan.

Nadera: Dati noong dekada 80, o una pa, kapag sinabi mong UP workshop, dapat yung content mo, e, committed literature, dapat tungkol sa bayan, kumbaga, dapat kilikili poetry, dapat laging tapos kamao, nagbago na ho ba ‘yan? At sinabi mo namang Silliman, e, bawal naman ‘yan. Kapag sa Silliman ka, bawal rara poetry, dapat, musical, craft lang, bawal ‘yung nagmumura, nagbago ho ba ‘yon?

Casocot: Nobody submits kilikili poetry, e, so I don’t know if kung bawal ba o ano. Silliman, is known, to be a center of formalist literature, gano’n. Actually, in my experience, I’ve seen many kinds of literary works coming in. Pare-parehas lang ang nagsusulat sa workshop. No! (tawa) Iba-iba. Dahil iba-iba ‘yung panelist. Kasi, example, Edith and Edil Tiempo quarrel to each other. Because they don’t agree, and we accept various kinds of short stories and poems, and iyon.

Galen (dapat ba Dominican sa UST? – Nadera): No, of course not, hindi. Part lang na what we have to take into consideration, coordinating and organizaing the workshop make sure na may representation ng Thomasian writer. When the center was reestablished in 2012, that’s part of the ___ asked to revised the Thomasian writing. Initially, Thomasian lang ang workshop. Ngayon, may mga 8 o 5 Thomasian and 7 or 8 Thomasian writers.

Cerda: Tinatry namin gawing mixed, kumuha ng mga fellows, na diverse. Ang mga panelists, traditionally ang mga kinikuha namin sina ma’am Benny Santos… Sa Filipino department sina Allan Popa, Allan Derain, Egay Samar, sa English sina Serrano… mostly tina-try namin na mixed. Sa UP, si ma’am Chari Lucero. Diverse din na uri ng mga akda, hindi lang actually natututo ‘yung mga fellows sa panelists, kundi mula sa isa’t isa, the more diverse yung kanilang pinanggagalingan, puwede silang magbalitaktakan din among themselves, inuman sessions, hindi lang nag-uusap-usap sa mga personal na bagay kundi sa panitikan… pero minsan nangyayari, at natututo sila with each other.

Vibiesca: Sa PUP, although ‘yung mga panelist namin, although sina Ka Roger Ordonez, Boni Ilagan, Jun Cruz Reyes, Jerry Gracio, Ricky Lee, wala naman din pong… wala naman pong restriction o ano. Basta ang ano lang namin, dapat nakasulat Filipino.

Dalisay: Sa UP naman, any thing goes, Ingles o Filipino. Sa graphic novel, we take self-pbulished works, wala rin naman kaming restrictions sa tema, in fact sa UP siguro, ‘yun ang pinakaliberal na environment na puwedeng pasukan ng isang manunulat. And we keep it that way. Siyempre, may sabihin nating may tradisyon talaga ng pagsusulat sa UP na mapulitika, o, politically conscious, that’s probably more explicit to the older writers, sa mga mas batang manunulat, may pulitika pa rin pero mas baon sa trabaho, hindi na nagwawagayway ng pulang bandila, pero makikita mo rin ‘yung matalas na pagsusuri sa mga rpoblema ng lipunan, mula sa pananaw ng mga nasa bagong henerasyon. And that’s important, we want to preserve people’s perspective and voices. Di kami pumapasok diyan na, Uy, mag-isip kayo ng ganito. Hindi naming trabaho iyan, e. Problema ninyo ‘yan, kung anong magiging problema niniyp sa pagsusuri ng lipunan pero importanteng importante sa amin ‘yon na hindi ka lang nagsusulat tungkol sa ako, problema ko kaninang umaga, malamig na ‘yung kape ko, mga ganyan. Iniwan ako ng boypren ko. Simypre kasama na sa buhay ng tao ‘yan, pero naghahanap kami ng mas marami pang pagtalakay at pagsusuri sa lipunan.

Coroza: Sa LIRA, wala namang tinatakdang paksa na tatalakayin. Ang mahalaga nga, bago ang isang tula ay maging tula ng paghihimagsik, o tula ng kasarian, ang tanong ay tula ba muna, tula ba iyan. Bago mo lagyan ng kung anu-anong label ‘yan, tula ba ‘yan. At pag-usapan natin bakit naging tula ‘yan. Kaya walang pagtatakda ng paksa. Malayang Malaya ang sinuman na kahit anong paksa, basta alam niya, ‘wag ka lang magpapanggap sa bagay na tatalakayin mo’t hindi mo naman talaga alam, e, malilintikan ka.