8 research outputs found
Spectacle! The Power of Protest Drama During Martial Law
No full textThe paper aims to identify the streams and influences of protest drama in the rich theatrical productions during Martial Law 1972-1986. The focus is on the different perspectives and commitment that shaped the struggles in form and content in the plays staged by selected groups in a number of provinces in the country. The primary staging ground for discussion is the politics of the spectacle which will be traced through the different dynamics of creating a play from the staged text through the process of producing a play
Parang Wala Kahit Naroon: Sipat Improbisasyon sa Kanon ng Kasaysayan ng Dula sa Pilipinas
No full textNo abstrac
Ang Salitang Dula: Talinghaga ng Di-nasupil na Diwa ng Paglaya
No full textBahagi ng pagkilatis ng mga tampok na katangian ng dulang Pilipino, inilalatag sa pag-aaral na ito ang dalumat ng salitang dula bilang isang tanda ng paggiit ng kasarinlan at pambansang identidad. Sa paglulugar ng salitang dula sa dantaong labingsiyam, isinusulit sa pag-aaral na ito ang pagkilala sa katangian ng dulang dinadanas, isinasatunog, isinasalita at ikinikilos at ang ugnayan ng mga pangyayaring pangkasaysayan sa pagkakabansag dito bilang dula mula sa kinikilalang tula na pinakatampok na tanda ng pag-iral ng dula. Sa pagsisinop sa kasaysayan, sipi ng mga dulang sedisyoso,mga talasalitaan at paraan ng pagbuo ng mga salitang may kinalaman sa dula, inilalatag ang pagkilala sa gamit ng salitang dula bilang tanda ng tampok na karanasang geograpikal at pangkasaysayan Na nagbibigay ng katangi-tanging kilatis sa dulang Pilipino. Mga susing salita: dula, tula, sedisyoso, salita, tanda, kasarinlan, talinghaga As part of a continuing search for the distinct qualities of Philippine theater, this study discusses the concepts in the word “dula” as a sign of sovereignity and national identity. In locating the word “dula” in the 1900’s this study observes the qualities of local theater as experience translated into sound,words and actions and the complex historical backdrop leading to the term dula from the word tula which was then the most distinct mark of theater. Through a critical study of historical events, texts from seditious drama and early poetic texts, vocabulary listing of words related to “dula” , the term is positioned as a fitting mark of the country’s geographical and historical events which has given rise to the term “dula.” Keywords: theater, poetry, seditious, word, sign, sovereignty, trop
To Make Shakespeare Signify: Notes on Rolando S. Tinio\u27s Makbet
No full textBien! A Festschrift is a feast of words and ideas that pays tribute to one of the most formidable, provocative, and important intellectuals in the Philippines and the field of Philippine Studies: Bienvenido L. Lumbera, National Artist for Literature of the Philippines. The book (in three volumes) presents reflections and commentaries on the great nationalist scholar and his lifework on literature, culture, literacy, and politics. This compendium also provides a selection of critical and creative work that honors the wide range of Lumbera’s interests and achievements.
The contributors in this volume include Reuel M. Aguila, Delia D. Aguilar, Alwin C. Aguirre, Virgilio S. Almario, Merlie Alunan, Mesándel Virtusio Arguelles, Genevieve L. Asenjo, Glecy Atienza, Romulo P. Baquiran, Jr., Joi Barrios, David Jonathan Y. Bayot, Karina Bolasco, Niles Jordan Breis, Rofel G. Brion, Nonon Villaluz Carandang, Jonathan Chua, Kristian Sendon Cordero, Michael M. Coroza, Genaro R. Gojo Cruz, Isagani R. Cruz, Ivery del Campo, Clodualdo del Mundo, Jr., Nick Deocampo, and Gary Devilles
Ang Awit Bilang Tula o si Levi Celerio Bilang Makata
No full textBien! A Festschrift is a feast of words and ideas that pays tribute to one of the most formidable, provocative, and important intellectuals in the Philippines and the field of Philippine Studies: Bienvenido L. Lumbera, National Artist for Literature of the Philippines. The book (in three volumes) presents reflections and commentaries on the great nationalist scholar and his lifework on literature, culture, literacy, and politics. This compendium also provides a selection of critical and creative work that honors the wide range of Lumbera’s interests and achievements.
The contributors in this volume include Reuel M. Aguila, Delia D. Aguilar, Alwin C. Aguirre, Virgilio S. Almario, Merlie Alunan, Mesándel Virtusio Arguelles, Genevieve L. Asenjo, Glecy Atienza, Romulo P. Baquiran, Jr., Joi Barrios, David Jonathan Y. Bayot, Karina Bolasco, Niles Jordan Breis, Rofel G. Brion, Nonon Villaluz Carandang, Jonathan Chua, Kristian Sendon Cordero, Michael M. Coroza, Genaro R. Gojo Cruz, Isagani R. Cruz, Ivery del Campo, Clodualdo del Mundo, Jr., Nick Deocampo, and Gary Devilles
Spectacle! The Power of Protest Drama During Martial Law
No full textThe paper aims to identify the streams and influences of protest drama in the rich theatrical productions during Martial Law 1972-1986. The focus is on the different perspectives and commitment that shaped the struggles in form and content in the plays staged by selected groups in a number of provinces in the country. The primary staging ground for discussion is the politics of the spectacle which will be traced through the different dynamics of creating a play from the staged text through the process of producing a play.
Educational work with factory women in Malaysia
No full textMost women workers' education focuses on women's objective-material
situation namely employment conditions and rights as workers. Hence,
consciousness-raising on exploitation and the importance of workers unity are the
usual agendas. Women's subjectivities, their individual personally lived experiences
are rarely taken on board. Even in situations where gender agendas are covered,
their unspoken thoughts, repressed feelings and pains, especially the personally felt
emotional subordination tend to be overlooked. This thesis explores how silenced
experiences of emotional subordination, powerlessness and inferiority can be taken
on board in and as educational work with factory women.
Guided by principles of participatory research and feminist research I used
multiple methods to review current and past educational work with factory women in
Malaysia, to explore a way of approaching and doing educational work that is
empowering for factory women and that is based on their lived experiences.
Specifically the research (i) undertook a historical and critical review of women
workers education in Malaysia and identified the neglected dimensions 1 (ii) probed
the lived gendered experiences of factory women, and (iii) evolved a pedagogy that
can evoke and reconstitute silenced experiences of emotional subordination. Storying,
as a narrative methodology for negotiating and constructing meaning from experience
(and practice) frames the epistemological and methodological approach to this study.
The study established that although emotional suffering is only one dimension
of factory women's lived experiences and one dimension of women's subordination,
it is however, a critical area to address in educational work concerned with factory
women's empowerment, given the pervasiveness of debilitating emotional
subjectivities amongst them. Story-telling-sharing in small groups was found to be
effective in facilitating the constructive unfolding of differences and commonalities
while also fostering an emotionally safe space in which women can rebuild self-esteem
and confidence and discover solidarity. Indeed, story-telling-sharing that
incorporates processes of reflective talking and making sense is the educational
method par excellence. It commences with lived experiences and experienced feelings
to reconstitute women's subjectivities. These findings bring significant insights to the
pedagogy and content of educational work with women on the global assembly line,
and for women and workers' education in general
