Words Rendered Live: Cultural Center of the Philippines Holds Second Performatura: Performance Literature Festival

Traditional chants, a costume play or cosplay and spoken-word performances are some of the events included at the Performatura 2017: Performance Literature Festival, to be held from March 31 to April 2 at the Cultural Center of the Philippines (CCP) in Pasay City.

            A prelude to the celebration of National Literature Month in April, the festival celebrates the richness of Philippine literature, underscores the connectedness of the written and the performative, as well as entices more people to appreciate literature.

            Filipinos, generally, are not much of a reading people, but can be eager audience of shows, and performances are ways for them to know the works of Filipino writers. In the last couple of years, spoken-word performances became quite popular in the country. Poems and monologs on love, recited and acted out on stage, found avid audiences, most of them young, in theaters and bars.

            Literary performances are not recent development though. Many literatures in the Philippines started out being performed, and a prime example is the number of epics, which are chanted from memory. And throughout history, poetry readings and performances based on texts have been put up. The traditional performances, as well as the latest trends are featured in Performatura, which is organized by CCP Intertextual Division, formerly the CCP Literature Division.

            Performatura was first held on November 6, 7 and 8, 2015. It was called Performatura Festival: Performing Literatures, to celebrate National Reading Month. Its aim was to highlight Philippine literature and its interconnections with other forms of arts, as well as the connection of artists to their audiences, according to writer Herminio Beltran Jr., who was one of the brains behind the festival.

            The title was coined by the festival director Vim Nadera, a poet who is known for his performance art. It combines the words performance and oratura. Oratura was derived from orature, a term coined by Ugandan linguist Pio Zirimu, who wanted to raise oral literature to the level of written literature. In Performatura, the intersections of the written word and performance and intertextuality are emphasized.

            The three-day biennial this year will be filled with poetry readings, cultural performances, film showings, marathon readings, a book fair and forums with artists and writers all day long, from nine in the morning to nine in the evening. It will showcase numerous artists—writers, performers and writer-performers. While entrance to the festival will be practically free, the organizers will be requiring attendees to donate a book as admission ticket. Each donation will go to the CCP’s partner libraries.

Balagtas. Boom!

            This year’s Performatura takes on the theme, “Sa loob at labas ng bayan kong sawi” (In and outside my forlorn country), a line from Francisco “Balagtas” Baltazar’s most famous metrical romance, Florante at Laura. While featuring works commenting and contemplating on the state of the country, the theme is really an homage to nineteenth-century poet Baltazar, widely considered the greatest of Filipino poets, and his immortal contributions to Philippine literature.

            Performatura wants to make Balagtas, Baltazar’s penname, and his works perennially hip, especially among millennials. Thus, it will be holding a cosplay or costume play based on his life and works called Franciscosplay. It is a contest where participants must dress up as characters from Florante at Laura and recite at least three stanzas of the character they are portraying. The cosplay event will happen in afternoon of April 2, the 229th birth anniversary of Balagtas, at the CCP’s Little Theater.

            Participants will be judged on characterization (how well the cosplayers act or embody the characters they’re playing), costume design, audience impact and delivery (how well the cosplayer delivered the lines they’ve chosen from Florante at Laura). Winners will receive cash prize (as much as P5,000) and gift certificates from Microtel Puerto Princesa and Santo Tomas, Batangas. The audience is also encouraged to be in costume, for they can bag a special prize for being the most creative.

            Aside from Franciscosplay, other Balagtas-related activities include marathon readings of his works at the CCP Promenade the whole afternoon. The series includes La India Elegante y el Negrito Amante on March 31 by the children from Dagdag Dunong Reading Center, a civil organization that promotes literacy; the komedya Orosman at Zafira on April 1 by members of the Pinoy Reads Pinoy Books Club; and of the Braille version of Florante at Laura on April 2 by the students of the Philippine National School for the Blind.

            In morning of Balagtas Day, April 2, National Artist for literature Bienvenido Lumbera, CCP officials and Komisyon sa Wikang Filipino (KWF) director general Roberto Añonuevo will lay a wreath at his shrine in Pandacan, Manila, where the poet lived part of his life. The program will include performances by Pandacan-based Teatro Balagtas and the past winners of KWF’s Makata ng Taon, Christian Rey Pilares (2015), Louie Jon Sanchez (2006, 2009 and 2011) and Mark Anthony Angeles (2016). This will be followed by a short cultural tour of the district, called “Lakbay-Kamalaysayan,” led by Samahang Sining at Kultura ng Pilipinas.

The Opening

            Performatura Festival will open on March 31 at nine in the morning at the CCP Little Theater, where National Artist for literature Virgilio Almario, who is also the chairman of the National Commission for Culture and the Arts and KWF, will deliver a message. The opening program will also be graced by CCP vice president and artistic director Chris Millado and Beltran, and will have performances by Jean Ariane Flores, the winner of the seventh Maria Carpena Kundiman Song Festival; Anino Shadowplay Collective; and Kontemporaryong Gamelan Pilipino (Kontra-Gapi), the ethnic music and dance ensemble of the University of the Philippines (UP) College of Arts and Letters.

            The opening will also see the launch of Akdang Buhay, a project of the UP’s Institute of Creative Writing which will come out with biographies of National Artists for literature and other major Filipino writers. It will be led by writer and professor Dr. Cristina Pantoja Hidalgo.

            This will be followed by opening of the book fair of National Book Development Board (NBDB), Ex Libris: NBDB Book Fair, at the Little Theater Lobby, and will be open until six in the evening of the duration of the festival.

            The second day of the festival on April will also have an opening program in the morning called “Paghahasik” (the act of sowing) at the CCP Promenade to be graced by National Artist for literature F. Sionil Jose and highlighted by performances of Sanghabi, a group focused on the use of indigenous musical instruments, and the popularization of the Old Tagalog syllabary and Tausug dance pangalay; poet Nerisa Guevara; and Tupada Action and Media Arts (TAMA), known for “ambush” performances in public spaces.

Face-to-Face

            Festival attendees will also get a chance to hear artists talk on their crafts and interact with them in a series on Gawad CCP awardees, happening from two to three in the afternoon at the CCP’s MKP Hall for the three days. The first day will feature actress Nora Aunor, while writer Leoncio Deriada, who is a leading promoter of Western Visayan literature; and veteran screenwriter Ricardo Lee will be featured on April 1 and 2 respectively.

Learning About the Craft

            The festival also provides a venue to learn more about the different aspects of literature and performance with its “Literaturo” series, every ten-thirty in the morning until noon at the Tanghalang Huseng Batute. The sessions are “Poetry is Our Second Language” on March 31; “Bukanegan” on April 1; and “Sarsuwelang Sangang Nangabali” on April 2. Additionally, the forum “When Writing Contest has Hidden Agenda and Other Horror Stories for the Millenial Writers” and another on the rights of young writers will conducted at Silangan Hall, from nine in the morning until noon, on April 2.

Text to Screen

            At the Dream Theater, selected films will be shown at the section called “Peliteratura.” The opening day will showcase films by artists Sari Dalena—Ang Kababaihan ng Malolos (2 to 3:45 p.m.) and Komikero Chronicles (4 to 6 p.m.). Giancarlo Abrahan’s Dagitab will be shown on April 1 (2 to 4:30 p.m.) and Jim Libiran’s Tribu on April 2 (2 to 4:30 p.m.).

Knowing Cultural Roots

            Performatura will also showcase traditional literatures and performances from selected indigenous ethnic groups of the Philippines in the series called Orature Overture, held every day from three to five in the afternoon at the CCP’s Tanghalang Huseng Batute. On March 31, the Visayan folk song called balitaw will be performed in Cebuano, while the next day, T’boli chants will be performed by chanters from Lake Sebu, South Cotabato. Orature Overture will move to the Silangan Hall on April 2 with performance of the rajji, the Itbayaten version of the Ivatan lyric song called laji, by performers from Itbayat, Batanes.

More Performances and Readings

            During the Performatura, poet, teacher and dancer Nerisa Guevara will debut her performance art piece, Elegy 5, at the CCP Aquarium on April 1, 3 to 7 p.m.

            On the other hand, the popular spoken-word trend will be presented in the Hugot Monologues series every afternoon (5:30 to 6:30 p.m.) at the Tanghalng Huseng Batute. The title refers to the “hugot,” from the Filipino expression “may pinaghuhugutan,” which refers to emotions drawn out or extracted from past experiences, something bottled up and then let loose. Spoken-word performances have become popular in the country mostly because they focus on “hugot” that often the two—the form or format and subject—are almost one and the same.

            The first day will showcase Jann Altea, also known as Binibining Beats, from Zamboanga City, while second day will showcase Ampalaya Monologues by Theatre in Alternative Platforms, a contemporary theatre company based in southern Metro Manila. Ampalaya Monologues is TAP’s popular play composed of a series of monologues, mostly on “hugot.”

            The last day will feature Juan Miguel Severo, who is credited for being one of those who popularized recent spoken-word performances, especially with his appearances in the popular television series On the Wings of Love in 2015.

            The Women Playwrights International will mount the Never Again Script Reading session or “readathon” at the Silangan Hall, 1:30 to 4 p.m., on March 31, featuring Duyan Ka ng Magiting and Princess Lili.

            Also at same time and venue the next day, there will be a storytelling session by Pinoy Storytellers Group and MAFIA (Mars and Friends in Action), a volunteer group of mountaineers and teachers promoting the love of reading.

            Every evening, from seven to nine, poetry reading and musical numbers in a bar setting will be put up at the Trellis, Figaro area, near the CCP Asean Park. The first session of Park Poetry@Sev’s Café is called “Between Our Legs,” hosted by Kankanaey writer Dumay Solinggay (Florenda Pedro). It will feature Alab, a volunteer group of artists and cultural workers; White Wall, a poetry and performance group; hip-hop artist and rapper Abra; and Words Anonymou, a spoken-word performance group.

            Folk and rock singer-songwriter Heber Bartolome will perform on Park Poetry @ Sev’s Cafe on April 2.Billed “From North to South” and hosted by the Batutes, this session will feature the Baguio Writers Guild; Bukambibig, a group who is into multilingual poetry performance; Gunglo dagiti Mannurat nga Ilokano iti Filipinas (Gumil Filipinas), the Ilocano writers group; Nagkahiusang Magsusulaat sa Cagayan de Oro (Nagmac); and members of The Little Boy Productions from Cebu.

The last session on April 2 is titled “Kay Ka Kiko,” hosted by Cheska Lauengco of Linangan sa Imahen, Retorika at Anyo (Lira). It will showcase The Makatas; Happy Mondays; Kilometer 64 Writers' Collective; Voltes ViM; and Lira, the group of poets in Filipino.

        Each session will have an open-mike portion for audience to participate.

        Performatura prides itself for the eclectic nature of its featured artists—from the established to the emergent, from the refined to the radical, from the traditional to the avant-garde. All of them will be gathered to celebrate literature and art and connect to audiences.

        “Not everyone can say they have performed at the CCP. It’s a privilege that National Artists and our best crafts-persons share,” said Nadera. “Now, it is an honor we are giving to those who are practicing both new and ancient forms of performance literature in the margins. Filipinos may not have heard of them, but their work is just as important.”

For more details, check the CCP Intertextual Division Facebook page or contact Markus Aserit at e-mail ccpintertextualdivision@gmail.com, telephone number 551-5959 or mobile number 0919-3175708. 

Abra

Alab 

Anino Shadowplay Collective

Dumay Solinggay

Jann Altea

Jean Ariane Flores

Kontra-Gapi 

Nora Aunor

White Wall

Words Anonymous

Bukambibig

Gumil

Leoncio Deriada

Nagmac

Nerisa Guevara 

Pinoy Reads Pinoy Books

Sanghabi

Theater in Alternative Platforms

Tupada 

Juan Miguel Severo

Literature Goes to Market in Dumaguete City

Overlooking Mindanao Sea and with a laidback vibe, Rizal Boulevard is perhaps Dumaguete’s most famous landmark 

Despite the whirlwind nature of the event, Dumaguete City had the ability to calm one down. I got to revisit the capital of Negros Oriental recently for the press conference of the Taboan 2013: Philippine Writers’ Festival, an annual gathering of writers all over the country to trade ideas and stories on culture, history and the literary arts.

The press conference was held at the Bethel Guest House. Despite its “antiseptic” ambiance, the small hotel is efficient and popular because of its location — along the city’s Rizal Boulevard. The boulevard is perhaps the most famous place there because it is picturesque and laidback. At one side is the Mindanao Sea, and at another a row of hotels, bars and restaurants, where many expats and students gather, talk and chill out. Some of the establishments used to be mansions, which lined the boulevard in the olden days. Old trees line the narrow strip of park beside the boulevard, a popular place to jog and exercise at as the sun rises and a nice promenade during sunsets. There is a monument to the Sisters of St. Paul of Chartres on the spot where they first landed in the Philippines. It was in 1904 when they opened the first Paulinian school in the country in Dumaguete City. 

The boulevard is a popular dining strip. Over the years, many good restaurants have popped up in the area. One of the most popular is Sans Rival Cakes and Pastries, which is always full. It offers the best sans rival cakes and silvanas in the city. A few steps away is Jo’s Chicken Inato, famous for Visayan-style grilled chicken, perhaps Visayas’s most famous dish. 

Nearby are major Dumaguete landmarks, the Aquino Freedom Park, the Cathedral of St. Catherine of Alexandria and beside it the Campañario de Dumaguete, said to be one of the oldest heritage landmarks in Central Visayas. Also along the boulevard is Silliman University, the city’s leading educational institution, the country’s first Protestant university and the first American private university in Asia. There are a number of educational institutions in the city, making it an educational center in the region. Hosting about 30,000 students, Dumaguete is known as a “university town” with young and educated people contributing to the vibrancy of the city.

Dumaguete’s Rizal Boulevard is lined with trees, hotels, bars and restaurant

 The centuries-old belfry beside the Cathedral of St. Catherine of Alexandria was used to warn people of the coming of marauding Moro pirates, who “snatched” (daggit in local term) people away, thus the name of Dumaguete City

Also, Dumaguete likes to call itself the “City of Gentle People” most likely because of the blithe nature of the Dumagueteños and the carefree atmosphere of the city. The recent visit enabled me to experience that, as well as reconnect with one of my literary mentors when I was a fellow at the Second Iligan National Writers Workshop, poet and teacher Christine Godinez-Ortega, who is the vice head of the National Committee on Literary Arts (NCLA) of the National Commission for Culture and the Arts (NCCA). She is the festival director of Taboan 2013 and is responsible for bringing Taboan to Dumaguete City, where she was born and nurtured as a writer before going and working in Iligan City in Mindanao.

Taboan was conceptualized as the flagship project of the NCLA for the Philippine Arts Festival (PAF), which is NCCA’s contribution to the celebration of National Arts Month happening for the whole month of February. Taboan is the Visayan word for “market,” and it is purported to be a venue for writers, as well as readers, students, teachers and scholars to interact with one another and discuss writing and literature. It mostly consists of conferences, seminars, talks and panel discussions, usually happening simultaneously. An attendee can thus hop from one discussion to another.

Taboan is held in different regions in the country. The first one in 2009 was held in Metro Manila, then it moved to Cebu in 2010, Davao City in 2011 and at the Clark Freeport Zone in Pampanga last year.

According to Ma’am Christine, it is but apt that the Taboan is being held in Dumaguete City.

Not in favor of the tag “City of Gentle People,” she wants the city to be known as the “City of Literature.” It has, in fact, produced a good number of writers and is home to the country’s oldest and most prestigious writers’ workshop, founded in 1962 by National Artist for literature Edith Tiempo and her husband, fictionist Edilberto Tiempo. The Silliman National Writers Workshop has nurtured many Filipino writers. Most of my writer-friends have attended the workshop and come back gushing with romantic tales about it, including falling in love with Dumaguete.

Ma’am Christine said that Taboan in Dumaguete is like a coming home of sorts for her, as well as for many participating writers. To be held from February 7 to 9, Taboan 2013 will be hosted by different schools in the city including Silliman University, St. Paul University of Dumaguete, Negros Oriental State University, College of St. Catherine of Alexandria, St. Joseph Seminary College and Foundation University. It will highlight Dumaguete City’s and the region’s writers, literature and literary traditions.

With the help of the city government of Dumaguete, Taboan for the first time will be having an opening parade, which will start at 8 a.m. on February 7 with a pahili, a ritual to augur luck, by a cultural group from the Negros Oriental State University. There will be performances by the Handuraw Dance Troupe of St. Paul University of Dumaguete and a rondalla group of the municipality of Dauin. During the opening ceremony, Resil  Mojares will deliver his keynote address titled “The Nation in the Visayan Imagination,” and a plenary session, “Your Place at the Writers’ Table,” will be held with National Artist for literature Bienvenido Lumbera, Mojares, Leoncio Deriada and Isagani Cruz as speakers. Different panel sessions will immediately begin on the same day. 

A book fair is one of the exciting events of the Taboan 2013

“Inscribing the Past” (1 to 2:45 p.m., Joshua Room 1 of Bethel Guest House) will have Lumbera as keynote speaker, and Rev. Msgr. Agustin Velez Ancajas, Erlita Pangilinan Mendoza, Elmer Ordonez, Merlie Alunan and Maria Rosario Cruz-Lucero as panelists. “Bypassing the Center” (1 to 2:45 p.m., Joshua Room 2 of Bethel Guest House) will have Fr. Rey Villanoy Jr., Herminigildo Sanchez, Richard Madrilejos, Neyo Mario Valdez and Phil Harold Mercurio as panelists. “Imagining the Indigene” (1 to 2:45 p.m., Agape Room of Bethel Guest House) will have Fr. Albert Alejo, SJ, as keynote speaker, and Norman Darap, Richard Kinnud, Jayson Eduria Parba and Christine Godinez-Ortega as panelists. “Translating Texts, Texts in Translation” (3 to 4:45 p.m., Joshua Room 1 of Bethel Guest House) will have keynote speaker Ma. Luisa Torres Reyes and panelists Francis “Butch” Macansantos, Junley Lazaga, Noel Tuazon, Hope Sabanpan-Yu and  Juliet Mallari. “Experimenting with Genres” (3 to 4:45 p.m., Joshua Room 2 of Bethel Guest House) will have panelists Fr. Jose Ronnie Cao, Almuzrin Jubair, Santiago Villafania, Shirley Lua and Jhoanna Lyn Cruz. “Vision and Revision” (3 to 4:45 p.m., Agape Room of Bethel Guest House) will have keynote speaker Leoncio Deriada and panelists Jenny Talaver, Allan Alberto Derain, Roilingel Calilung, Roberto Klemente Timonera and Haidee Emmie Palapar.

On February 8, “Writing Chinoy, Chinoy Writing” (8 to 9:45 a.m., Jordan Room 1 of Bethel Guest House) will have keynote speaker Shirley Lua and panelists Rowena Rose Lee, Mark Benedict Lim, Hope Sabanpan Yu and Carlo Arejola. “Writing for the Ebook Market” (8 to 9:45 a.m., Jordan Room 2 of Bethel Guest House) will have keynote speaker Isagani Cruz and panelists Gil Montinola, Reuel Molina Aguila, Sonny Villafania and Jose “Butch” Dalisay. “Gender Factor” (8 to 9:45 a.m., Agape Room of Bethel Guest House) will have keynote speaker Jhoanna Lyn Cruz and panelists Diandra-Ditma Macarambon, Sherma Benosa, Paul Randy Gumanao, Paolo Manalo and Ma. Carmen Sarmiento. “The Space Between” (10 to 11:45 a.m., Jordan Room 1 of Bethel Guest House) will have keynote speaker Elsa Victoria Martinez Coscolluela and panelists Merlita Lorena Tariman, Isabela Banzon, Martin Villanueva and Priscilla  Macansantos. “Chronicling Disasters” (10 to 11:45 a.m., Jordan Room 2 of Bethel Guest House) will have keynote speaker Elmer Ordoñez and panelists Jim Domingo, Marion Guerrero, Carlo Arejola, Jondy Arpilleda and Elizabeth Raquel. “Networking Among Writers” (10 to 11:45 a.m., Agape Room  of Bethel Guest House) will have keynote speaker Butch Dalisay and panelists Jane Camens, Isagani Cruz, Merlie Alunan and Juliet Mallari.

At the Negros Oriental State University’s gym, the discussion on performance poetry will have keynote speaker Steven Patrick Fernandez with panelists Chuckberry Pascual, Lumbera, Nemesio Baldesco Jr., Joycie Dorado Alegre and Rosemarie Teves Pinili (1:30 to 3:30 p.m.). A reading/discussion of the works of Edilberto Tiempo and Edith Tiempo will be held at the Silliman Hall of Silliman University from 4 to 6 p.m. with keynote speaker Merlie Alunan and panelists Leoncio Deriada, Christine Godinez Ortega, Ralph Semino Galan, Dominique Cimafranca and Karlo Anthonio Galay David.

“Mga Hinandum: Siday, Balak, Balitao of the Winners of the Negros Oriental Balak/Balitao Competition,” a performance poetry and concert featuring traditional Visayan literary froims, will be held on February 8 at 7 p.m. as well as the launching of Alunan’s book Pagdakopsa Bulalakaw and a performance by the St. Paul University of Dumaguete Orchestra.

Literary discussions will continue on February 9 with a reading/discussion of Artemio Tadena’s works at the James Herring Audio-Visual Room of Foundation University with keynote speaker Myrna Peña Reyes and panelists Cesar Ruiz Aquino, Francis “Butch” Macansantos and Priscilla Macansantos (8 to 10 a.m.). A reading/discussion of the works of Elsa Victoria Martinez Coscolluela and Bobby Flores Villasis will happen at the Fr. Louis Chavet Hall of St. Paul University of Dumaguete (10:30 a.m. to 12:30 p.m.) with panelists Erlinda Kintanar Alburo, Leoncio Deriada,  Tichie Ann Baena, Priscilla Cielo and Victor Sugbo. “On Publishing Modern Catholic Writing” will have keynote speaker Joselito Zulueta and panelists Fr. Albert Alejo, SJ., Rev. Mgsr. Agustin Velez Ancajas, Fr. Rey Villanoy Jr., Fr. Jose Ronnie Cao, Fr. Enrico Silab and Georgette Ann Gonzales at the COSCA Multi-media Center of the College of St. Catherine of Alexandria, from 2:30 to 4:30 p.m.

NCLA vice head Christine Godinez-Ortega (middle) is this year’s Taboan festival director. Last year, she moderated the discussion on writers’ workshops together with Aida Rivera Ford (left) and Elsa Martinez Coscolluela (right)

For the closing ceremonies of Taboan 2013, the Tanjay City Symphony Orchestra will hold a concert at the Essencia Hotel at 6 p.m. on February 9. This will be followed by “Suga-Tula (Crossing Poetry)” by the Integrated Performing Arts Guild (IPAG) of the Mindanao State University-Iligan Institute of Technology, under the direction of Steven Patrick Fernandez.

Taboan 2013 Literary Awards, which was started in 2010, will also be bestowed, honoring the contributions of significant Visayan writers. This year’s awardees are Erma Cuizon, Marjorie Evasco, Lamberto Ceballos, Ernesto Lariosa and Cesar Ruiz Aquino from Central Visayas; Alice Tan Gonzales, Maria Rosario Cruz Lucero, Maria Luisa Defante and Victorio Sugbo from Western Visayas; and Fray Paolo Maria Diosdado Casurao from Eastern Visayas.

New this year is the Taboan Lifetime Achievement Award which will be given to Bienvenido Lumbera, poet Cirilo Bautista, critic Isagani Cruz, fictionist Elmer Ordonez and fictionist Leoncio Deriada.

With Taboan 2013, both residents and visitors of Dumaguete City will be treated to the soulful and mystical side of the city. Hopefully, the Taboan can conjure a spellbinding effect on the participants the way the Silliman National Writers Workshop has enraptured its fellows.

National Artists Bienvenido Lumbera, Virgilio Almario and F. Sionil Jose attended last year’s Taboan and are expected to grace this year’s event

The 2009 Palanca Awards: A Persistence of Excellence

For more than half a century, the Palanca family, which is into the distillery business, has been promoting literature and excellence in writing in different fields and languages through the annual contest Don Carlos Palanca Memorial Awards for Literature. Through the years, the contest has become a benchmark of literary achievement for any writer in the Philippines and a tradition in the Philippine literary world.
"Ang Gantimpalang Palanca ay isa nang tradisyon sa kasaysayan ng kontemporaneong panitikan ng Filipinas (The Palanca Award is already a tradition in the history of contemporary literature of the Philippines)," confirmed National Artist for literature Bienvenido Lumbera, who was the guest of honor and speaker during the Palanca awarding ceremony on Sept. 1 at the Rigodon Ballroom of the Peninsula Manila Hotel in Makati City.
A poet, literary critic and historian, professor and much respected literary figure, Lumbera was honored that night with a Gawad Dangal ng Lahi (literally, pride or honor of a race or nation), which is given to those who have prominently excelled in their fields of expertise and have become role models for the Filipinos.
"Bilang parangal, itinuturing itong katibayang 'may dangal' na ikinakapit sa isang akda ang pasya ng tatlo/limang eksperto na nagsuri at nasiyahan sa tula/kuwento/dula/nobela na kanilang binasa (As an award, it is considered a testament 'of honor' to a work given by three/five experts who judged and enjoyed the poem/story/play/novel)," he elaborated.
The Palanca Award is perhaps one of the few arenas in the country where excellence is still continually upheld, although the inclusion of komiks writer and movie director Carlo J. Caparas as one of the judges in the screenplay category this year may be considered a blemish by some. Though popular, Caparas made what many consider as the worst films in Philippine cinema history.
Currently, he is embroiled in the National Artist controversy in which his name was inserted by President Gloria Macapagal Arroyo into the roster of new National Artists, along with National Commission for Culture and the Arts executive director Cecile Guidote Alvarez, architect Francisco Manosa and fashion designer Jose "Pitoy" Moreno, without going through the proper process and evaluation. Now brought to the Supreme Court and being investigated by Congress, the incident, which engendered protests, is still causing uproar and indignation.
Lumbera is one of the prominent figures in protest of what many call the "manipulation" of the National Artist awards, and his keynote speech in the Palancas showed the sentiment.
"Ang pagkapagwagi ng akda ay bunga ng matamang pagtimbang sa halaga at ganda ng likha ayon sa mga pamantayang umiiral sa akademya. May mga kritiko at awtor na nagpasubali na sa pamantayang 'Palanca,' ngunit masasabi naman na sa mahabang panahong namili ang kompetisyong Palanca ng mahuhusay na akda, matagumpay nitong nagampanan ang pagpapalanaganap ng kamalayang makasining sa hanay ng mga kabataang manunulat. Ang mga antolohiya ng nagwaging mga akda na inilabas ng Palanca ay tunay na kayamanan ng panitikan, at hindi kataka-takang ang Parangal Palanca ay patuloy na kinikilala bilang pamantayang pampanitikan na hindi matatawaran. Tunay na masasandigan ng isang manlilikha ang kanyang mga nagwaging akda bilang mga likhang nagdulot ng dangal sa kanyang pangalan (The choice of winning works is a result of conscientious evaluation of the value and beauty of craft according to the standards of the academe. There may be critics and authors who take exemptation of a 'Palanca' standard, but it can be said that in the length of time the Palanca contest has been choosing the best works it succeeds in spreading artistic consciousness among young writers. The anthology of winning works published by the Palanca is truly a literary treasure, and it is not surprising that the Palanca Awards continue to be recognized as a literary standard. The author can rely on his winning works as something that brought honor to his name)," Lumbera said.
He added that the value of an award is measured by the reputation of those who decided upon the winners, and writers are fortunate that the entity that bestows the Palancas, although a mercantile company, is not tempted to manipulate the results of its own contest.
"Ang karangalang kanilang tinatanggap mula sa La Tondena Incorporada ay walang bahid ng manipulasyong pumapabor sa isa o ilang naghahangad ng 'dangal' (The honor they receive from La Tondena is without taint of manipulation that favor one or the few that desire the 'honor')," Lumbera reiterated.
The Don Carlos Palanca Memorial Awards for Literature was established in 1950 to honor the Palanca patriarch as well as "to help develop Philippine literature for writers to craft their most outstanding literary work; to be a treasury of the Philippines ' literary gems from our gifted writers; and to assist in its dissemination to the public, especially the students."
Lumbera further said: "Sa ating kapitalistang lipunan, ang dangal ay kalakal na minimithing makamtan ng mga mamamayang hangad kilalaning nakaaangat ang katayuan sa lipunan. At ang parangal ay pagkakataon na nagbubukas ng daan, kaya't ang taong may ambisyong matanghal bilang 'may dangal' ay humahanap ng paraan upang magkamit ng 'dangal.' Maaaring iyon ay taong impluwensyal, maaaring serbisyo, at maaari din namang suhol kung kinakailangan. Nangyayari din ang kabaligtaran. Ginagamit din ng nagbibigay ng 'dangal' ang parangal upang pag-ibayuhin ang kanyang impluwensiya sa taong pinararangalan, upang magbayad ng utang na loob sa taong subsob sa paglilingkod sa kanya, at upang suhulan ng 'dangal' ang taong gusto niyang maging tauhan." (In our capitalist society, honor is a business, desired by people who want to be seen as above everyone else in the society. By chance, an award opens a door that people who have ambition of being proclaimed as someone 'with honor' finds ways to clinch the 'honor.' That way may be influential connection, service and also bribery if need be. The opposite also happens. Honor-giving is used to further someone's hold on the person honored, to show gratitude to the person for his loyal service, and to bribe a person to be on someone's side)
Lumbera cited the recent National Artist awards fiasco.
"Ang dangal na dulot ng parangal ay hindi laging kanais-nais. Kailangang malinis ang kamay na nag-aalay nito. At walang manipulasyong ginawa ang tatangap upang magkamit ng karangalan. Ang burak ng transaksiyong politikal ay nagpapamura sa dangal na tinatanggap at sa tumatanggap na rin. Kayong tumanggap ng dangal ngayong gabi, mapalad kayo. Ang parangal sa inyo ay walang bahid ng pamumulitika, pagkat ang tanging hinihingi nito sa pinararangalan ay magpatuloy na lumikha ng masining at makabuluhang mga akda sa mga darating pang araw (The honor brought by an award is not always desirable. The hand that bestows it must be clean. And there must be no manipulation made by the receiver. The filth of political transaction devalues the honor and the also those who received it. You who are receiving honor tonight are fortunate. Your award is without taint because it only asks for your commitment to write more artistic and meaningful works in the days to come)," Lumbera concludes.
Caparas and his wife Donna Villa arrived late and thus failed to hear Lumbera's speech. Although most of the people in the ceremony disapprove of his proclamation and behavior, he was courteously received and even welcomed by his known opponents like writer Butch Dalisay.
Aside from the regular winners, 62 percent of which are first-timers, the Palanca Awards also inducted two writers into its Hall of Fame. Hall of Fame awardees are those who have won five first prizes in the Palanca Awards, "have consistently met the critical standards of the various boards of judges, and have maintained a reputation in the literary circles worthy of recognition by his peers."
Reuel Molina Aguila and Eugene Evasco, both professors from the University of the Philippines, are this year's inductees. Aguila won his fifth first prize this year for his essay in Filipino titled "Ngunit Wala Akong Litrato Noong Nasa Kolehiyo Ako," while Evasco won his fifth children's poetry in Filipino, a newly introduced category, titled "May Tiyanak Sa Loob Ng Aking Bag."
Aguila won his first first-prize in 1992 for an essay in Filipino ("How I Spent My Summer Vacation o Kung Papaano Ko Ipinaliwanag Sa Aking Mga Anak Ang Pagkatalo Ng Aking Kandidato Sa Nakaraang Eleksyon”). He also won first prize in 1993 for an essay in Filipino ("May Katulong Sa Aking Sopas"), in 2001 for futuristic fiction in Filipino ("Ampalaya") and in 2005 for full-length play in Filipino (Baligho [Ikatlo sa Trilohiya]).
Evasco started winning first prize in 2000 with poetry in Filipino ("Ang Maisisilid Sa Pandama") and children's story in Filipino ("Hilong Talilong"). These were followed in 2001 ("Mga Pilat Sa Pilak," essay in Filipino) and 2005 ("Tag-Araw Ng Mga Ibong Hilaga," a children's story in Filipino).
The Don Carlos Palanca Memorial Awards for Literature once again celebrated a year of bountiful and brilliant literary harvest.


Winners of the 59th Don Carlos Palanca Memorial Awards for Literature

FILIPINO DIVISION
Dulang may isang yugto: Layeta P. Bucoy for Doc Resureccion: Gagamutin ang Bayan, first; Liza C. Magtoto for Paigan, second; and Jose Dennis C. Teodosio for Asunto, third.
Dulang ganap ang haba: Rodolfo C. Vera for Ismail at Isabel, first; Reuel Molina Aguila for Sa Kanto ng Wakas at Katotohanan Ext., second; and Sir Anril P. Tiatco for Miss Dulce Extranjera, third.
Maikling kuwento: Rogelio Braga for "MGA," second; and Jimmuel C. Naval for "Ang Kamatayan ng Isang Linggo," third. No first prize winner.
Sanaysay: Reuel Molina Aguila for "Ngunit Wala Akong Litrato Noong Nasa Kolehiyo Ako," First; Jing Panganiban-Mendoza for "Kumander," second; and Domingo G. Landicho for "Kamay," third.
Kabataan essay: Axcel L. Trinidad for "Si Ate Elsa, Si Aling Carmen, at Ako Laban sa mga Nangungunang Bansa sa Mundo,” first; Johanna Rose E. Calisin for "Nagkakaisang Isip, Damdamin at Lakas," second; and Maya Victoria S. Rojas for "Humabol Ka, Pilipino!" third.
Tulang isinulat para sa mga bata: Eugene Y. Evasco for "May Tiyanak sa Loob ng Aking Bag," first; Jesus M. Santiago for "Kuwentong Matanda, Bersong Bata," second; and Michael M. Coroza for "Munting Daigdig ng Dalit at Awit," third.
Tula: Reagan R. Maiquez for "Ilang Sandali Makalipas ang Huling Araw ng Mundo," first; Alwynn C. Javier for "Yaong Pakpak na Binunot sa Akin," second; and Charles B. Tuvilla for "Sambutil na Daigdig sa Ilalim ng Pilik," third.
Maikling kuwentong pambata: Genaro R. Gojo Cruz for "Mahabang-mahabang-mahaba," first; Michael M. Coroza for "Ang mga Kahon ni Kalon," second; and Milagros B. Gonzales for "Ang Nanay Kong Lola," third.
Dulang pampelikula: Seymour Barros Sanchez and Christian M. Lacuesta for Hiwaga, first; Jerry B. Gracio for Muli, second; and Enrique Ramos for Moonlight Over Baler, third.

REGIONAL DIVISION
Short story in Cebuano: Corazon M. Almerino for "Sugmat," first; Richel G. Dorotan for "Biyahe," second; and Ferdinand L. Balino for "Mga Mananap sa Kagabhion," third.
Short story in Hiligaynon: Ferdinand L. Balino for "Kanamit Gid Sang Arroz Valenciana," first; Alice Tan Gonzales for "Baha," second; and Joselito Vladimir D. Perez for "Ang Santo Intiero," third.
Short story in Iluko: Danilo B. Antalan for "Vigan," first; Ariel S. Tabag for "Dagiti Ayup Iti Bantay Quimmallugong," second; and Reynaldo A. Duque for "Ti Kararua Ni Roman Catolico, Mannaniw, Nga Immulog Iti Impierno," third.

ENGLISH DIVISION
Full-length play: Floy C. Quintos for Fake, third. No first and second prizes.
One-act play: Violet B. Lucasi for "Balangao," third. No first and second prizes.
Kabataan essay: Cristina Gratia T. Tantengco for "The Benefits of Selflessness," first; Vincen Gregory Y. Yu for "Dreams and Pastures," second; and Angelita A. Bombarda for "On Being Filipino: A Citizen to the World," third.
Poetry: Vincenz Serrano for "The Collapse of What Separates Us," first; Eliza A. Victoria for "Reportage," second; and Mark Anthony R. Cayanan for "Placelessness: Poems from a Series," third.
Poetry written for children: Edgardo B. Maranan for "The Google Song and Other Rhymes for Children," first; Heidi Emily Eusebio Abad for "Child of Earth Poems," second; and H. Francisco V. Penones Jr. for "Turtle and Other Poems for Children," third.
Short story: Sigfredo R. Iñigo for "Home of the Sierra Madre," first; Anne Lagamayo for "Mr. & Mrs. Reyes and the Polka-dotted Sofa," second; and Luis Katigbak for "Dear Distance," third.
Short story for children: Kathleen Aton-Osias for "Apolinario and the Name Trader," first; Edgardo B. Maranan for "The Artist of the Cave," second; and Paolo Gabriel V. Chikiamco for "Dear Mr. Supremo," third.
Essay: Edgardo B. Maranan for "A Passage Through the Storm," first; Erlinda Enriquez Panlilio for "Saying Goodbye to the House," second; and Maria Teresa P. Garcia for "Sweet of the Earth," third.