Workshops

Workshop A: Not Just “First World Problems”: Teaching 21st Century World Fiction
Dr. Cyan Abad-Jugo & Mr. Miguel Antonio N. Lizada
 
What is 21st century world fiction? What thematic concerns and literary styles distinguish works produced in the 21st century from those written in previous time periods? Through an initial discussion of two short stories – Woody Allen’s “The Rejection” set in America and Nadine Gordimer’s “The Ultimate Safari” set in South Africa – the participants will consider varied issues that shape short stories of the 21st century: the age-old tension between the self and society, but involving 21st century issues like cosmopolitanism, multiculturalism, and postcolonialism; the complexity of encounters between social classes and between East and West in a globalized age; and the burgeoning concern for the youth and the environment in an increasingly competitive, technological, and mechanical world.
 
In this workshop, participants will also review teaching strategies that utilize social media, and will create lessons for these particular 21st century stories to address and enhance the competencies of their particular students.
 
 
Workshop B: Teaching the Fiction of Many Voices in the 21st Century Classroom
Dr. Margarita R. Orendain & Ms. Devi Benedicte Paez
 
The world in which young readers of fiction now live keeps ever changing with advances in technology and interconnectedness through social media. But it is also a world too often negotiated as a business transaction, portrayed through Hollywood's cinematic lens, animated in this country by Manila-oriented culture, or merely condensed in a Facebook status or a Twitter update. When these young readers read Philippine literature, whose voices emerge in the prose fiction they read? Does fiction from the regions find fair representation in our reading lists? What questions of identity, ethnicity, class, and gender are raised in such fiction?
 
This workshop asserts that reading fiction from the regions is fundamental to knowing and understanding our people, our varied cultures and contexts, and ultimately, ourselves. At the end of the sessions, participants may find themselves as more informed and passionate advocates of reading fiction in the 21st century, specifically Philippine literature from the regions.
 
 
Workshop C: Worldwide Regional Lit: Approaches to the Teaching of Filipino Poetry in a Regional Language as World Literature
Dr. Charlie Samuya Veric and Mr. Francis Sollano
 
More than three decades ago in "The Rugged Terrain of Vernacular Literature," Bienvenido Lumbera called attention to the difficulty of teaching Philippine literature from the regions. Today the difficulty remains and becomes more pronounced in light of the new K-12 curriculum that requires the teaching of regional literature and arts in conjunction with world literature. How, then, do teachers and students transition smoothly from local literary production to world literature? More important, what are the connections that can be made between the two seemingly opposed literary traditions so that their teaching becomes more productive and enlightening? The workshop answers these questions by reviewing first the concept of vernacular or regional literature alongside world literature and by examining a literary text that lends itself well to the teaching of such courses.
 
 
 Workshop D: 21st Century Poetry from the World
Dr. Vincenz Serrano & Mr. Jose Mari B. Cuartero
 The first half of the session explores a number of definitions of world literature, as surveyed principally by David Damrosch (2003). We pay attention to how these definitions change and are contested over time and location, specifically in the context of Philippine literary education in the 21st century. In the second half, we take off from these definitions and consider some pedagogical approaches incipient in them. Through Caribbean poet Derek Walcott’s “Sea Grapes,” we will emphasize three things: 1. a close reading of Walcott’s poem; 2. identifying and analyzing the poem’s historical, cultural, and geographical underpinnings; and 3. locating the poem within the discourse of world literature. Participants are expected to design lessons which will illumine the topics and apply the approaches raised in the session.
 
 
Workshop E: Writing Creatively to Teach Creative Writing
Mr. Exie Abola & Mr. Martin V. Villanueva
 
To teach creative writing, one first needs to write creatively. This workshop aims to teach participants to spark the literary creativity of their students by first finding that spark in themselves. After providing a framework for analyzing literary texts (fiction, poetry, essay, drama), the workshop will put participants through activities that will unlock their creativity and get them to write literary works. Participants will learn the creative process of combining inspiration with craft, tapping one’s own thoughts, feelings, and experience then giving these shape through words. Fundamental techniques in writing imaginatively will be discussed, including how to run a writing workshop, a crucial tool that gets students and their fellows to read each other’s work as writers. At the end of the workshop, participants will present their own creative work as well as the writing exercises and tasks of their own devising.
 
 
Workshop F: Performing Literature: Dramatic Theatricality as a Teaching Technique
Ms. Missy M. Maramara

Drama is text written with the intention of being performed live in front of an audience, but literature of all genres is potentially theatrical. This workshop is about using this performative nature of drama to teach all forms of literary text.  It introduces the concept of theatricality and teaches a method of determining where, when and how a literary text can be made excitingly accessible and academically memorable to students of all levels. After providing a basic framework for analyzing dramatic text and finding its application in appreciating non-dramatic text, the workshop combines teaching pedagogy and theater exercises in classroom activities that will engage participants' hearts, minds and bodies. A final creative output will be the culminating activity to be presented by the participants at the final plenary.