 Magandang umaga, magandang tanghali, magandang gabi sa sinuman nanunood dito, mabuhay kayong lahat. My topic today is actually post-colonial path to constructing the nation. It was called nation before but we might want to do Bansa, Bhanwa or even Bayan. Let me quote from our very eminent professor emeritus, university professor emeritus and a poet, because he said forging our poetry is like a double forgery. What does he mean by that? Our poetry in the 1980s to the present is marked by a very heightened consciousness of language. Very heightened consciousness of language. Let me underline that. In this way he says language creates its own reality. And that word reality must be put in quotation marks as well because it's so called reality. Why? In a way it's a double forgery. A forgery from language which itself is already a fiction or a counterfeit of reality. And a forgery to one's own consciousness from the reality outside language. That's how many of us have seen so far. What does he mean by that? First put in your mind, reality is not equal to what is out there. What is out there is a construction. Meaning if you look at this, okay you call it lameza. Because you agreed it was going to be where you see words, lameza. But somebody might call it toilet. But anyway. So what does it mean? That reality is already a representation. And therefore a double forgery because you have language and then you have supposedly language used for poetry reflecting reality. But that reality itself is already construction. Now I'm talking to everybody whether you're writers or researchers, NGO, GO. Everybody. Artists, designers. And then even musicians, broadcast people, performing artists. And then the whole set, architects, anthropologists, sociologists, social scientists. Those who are trying to save the environment or environmentalists. Theoretical scientists and applied scientists. I'm talking to all of you. Why? Because we all use some kind of language. We all use some kind of form. So what does that mean? That you, you need to have a heightened consciousness of the form or the language that you're using. So that you can give it more meaning. So that you can have some kind of meaningfulness. Okay? This is where my post-colonial paths come in. The post-colonial framework that in the 1990s I brought out to the consternation of my, I call them Katitahan, the faculty of my own department of English and comparative literature who said, we're doing literature, we're not doing politics. But they could not show me out because I was their daughter of sorts, academic daughter. So what are post-colonial strategies? This include first a critique of western. Western, hegemonic, practices and texts. So all of those are terms. And you know that we have to infuse those terms with some kind of signified. Or those of you who know your susul. Signifier, signified. And the next part of the post-colonial strategies has to do with affirmation of marginalized cultural forms. Now, what I'm saying actually is found in this book. A UP Press book now available. May I say something like Amazon? Okay. Now available on Amazon.com. It's almost out of print. First printing came out in 1993. 1993 and the last printing was in 2004. It was co-edited by Christina Pantoja Hidalgo and myself. But I put it all together and this is those essays that I think please have a chance to read. You can have a chance to read it. These are discourses of worlding, forming a world, so worlding and post-colonial studies. And the other essay is Literatures from the Margins. So please read those so that we can understand what parts took the buy-in I'm talking about. And in 2004, when I brought out the second edition of this, I made sure that I also showed the reaction to my post-colonial parts. Remember, the Department of English is as old as the university, 1908? It's so obvious. Why would the Americans not want to create a Department of English? Where most of our professors then, before the war, were Americans anyway. Because they knew the value of English. But I was comparative literature. And comparative literature na man was very French-ified. Because for the French, when you say literature, you meant French literature. And all the rest, even British, even American, were called national literature. So what do you do with the others? Then it's called third world. So first, second, third. That's what we are. We're always third world to them. That's why later on, Literatures from the Margins talks about getting them back. Getting what has been occluded back into our consciousness. I must come and get this guy, Raymond Williams, Manchester. You have to define the word practices. In the 20th century, this British materialist emphasis on the word materialist. As opposed to, for instance, something like spiritual. Raymond Williams talked about cultural forms as products of what? Concrete determinations, concrete factors. Material forces. They're called material forces. And not only material forces. We have to look, meaning politics, economics, literary arts, et cetera, all of these movements. I also think in terms of relations. Material relations. Remember, he's from Manchester. A red brick, well, they call it red brick. That's where the Beatles came from. That's where the working class was supposed to have spag compared to other universities in London. Now, he was also talking about material conditions like what is your class? What is your race? What is your ethnicity? What is your religion? What is your gem there? So all of these are relations and all of these are concrete material determinations. So I will put there, critique of Western hegemonic. I also underline the word hegemonic. Why? Because hegemonic means being dominant with our consent. Why our consent? Why do we want to be dominated with our consent? Okay, let me see. I wrote that in, you can see my book, it's there on page eight. And then this is where we get the word, why would we be socialized with our own consent? And the one who gave us this word interpolated was Louis Althusser. So he was the one who brought a term to our consciousness like ideological state apparatuses. What does that mean, ISAs? It means the family, the church, the school, the political parties, the academic and professional institutions. In other words, everything around us. And you can go on and on from literary contices to all the way to academic councils. Like for instance, National Research Council of the Philippines. He's talking about ideological state apparatuses. In contrast to what he also called repressive state apparatuses. Now, why repressive? Because they are all part of the state. Meaning, from the government to the instrumentalities of that government like police, like army, navy, including the prisons. These are all repressive state apparatuses. In other words, you comply with what they're saying. Otherwise, you're dead meat. Excuse me, you're dead, okay? However, when you talk about the ISAs, you would say, my family is part of my socialization or interpolation process. Are they doing something to me that is bad? My church, my school, autosur would say yes. Now, if you're wondering, why am I quoting all of these materials? Actually, this is my syllabus. When I go to class, I have a cup of coffee here. And everything here is my syllabus. What does that mean? It says, I come from a long line of mentors. And let me state my position very clearly. I'm a socialist. Manchester train by my old people. But let me first say, this is my face. Okay, I have a face there. And then on my left is, is it my left? Yeah, on my left, if you're looking at the cup is Karl Marx, the German ideologue Karl Marx. On my right would be Eagleton. Then you have Akusep. Then you have below the women. You have Marx, first Roland Marx. Then Linda Hatchen. And then Gayatris Piva. And then Fokko. And then Catherine Belsi. And then down below are my Philippine mentors. Of course, number one would be, to me, as a socialist and still most believable nowadays. This Manchester train is Dodon Francisco Nemenso. Dodon Francisco Nemenso, our former president UP. I was in his cabinet. And then the second one is Randolph David. Okay. And of course, the third one is Reinaldo Iletto from history. Randolph David is from sociology. And then Professor Nieves Epistola. She was like my academic mother. She taught me how to care for people, especially students. She taught me how to be very creative in using all of this. And that's the reason why one day I told my dad, I won't go to law in order to memorize the presidential decrease of your classmate. He was class. He was class 39. Meaning he was the classmate of Marcos. And so I went on. I was first quarter storm. 68 to 72. Why am I going to law? So I went to my MA, comparative literature, and finally PhD, Philippine studies. And that's how I developed this post-colonial critique with all of this. So in a way I used the ISAs in order to form myself the person I am now. The other person that I need to talk to you about is Antonio Gramchi. He gave us the word hegemony. Hegemony means domination or subjugation with the consent of the dominated or subjugated. So why should we be subjugated? If we use autoserve, you would say, it is because we are using all of this and all of these ISAs, we are being subjected by all of these ISAs. And we think that all of these that come to us are natural or the way things are or should be God-given or universally accepted as truths. We now know there's no such thing as natural. Natural, that's why we should put it in quotes. What's natural? Is it natural for a woman to stay at home? Is it God-given for those talking about women? Is it God-given that our very hardy men have to go and be OFWs abroad? Is that God-given? Because we are poor or universally accepted as the truth? The truth is what? That the third world countries have always been number three in almost everything, whether you're talking about economics or politics or Catholicism. No. What we should fight against there, hegemonic. And Fokko gave us another term. He calls it discourses. Discourse has to do with modes of knowledge that are related to relations of power. For instance, the discourse on medicine. I'm not going to have an albolario heal me, although I'm in pain. In fact, I did have an albolario heal me. Why? Because Western medicine says, no, you use the pharmacy. You use pills. Okay? The discourse on religion. It will tell me go to church every Sunday because I am part of the dominant Catholic ideology. Fortunately for me, the Jesuits took over my education. When I was in St. Mary's College, the Jesuits took over the ones who trained the religious of the Virgin Mary. Therefore, to me, when I went to UP, I started to think in terms of theology of liberation. Now that one is not related to power because otherwise people will say, no, you just go to church. You pray the rosary. Then you go to confession. That's it. Then you go during holidays of obligation. That's it. That's the discourse on Western religion. The other one is discourse on patriarchy. Oh God, that's the one that says that women should stay at home. Men are the superior group of creatures. The discourse on music will say, you should know the symphonies. I was in fact growing up with my dad trying to interpolate me with classical music. What does that mean? Oh, I know my brums. I know my Beethoven. I know my Chopin. But he did not allow me to watch Tagalog movies. So I'm only discovering Tagalog movies now and I'm only discovering what's his name? Coco Martin. All of a sudden I realize, oh, I like Coco Martin. I like his, what's that? That show where he is a cop. Oh, I said, I like that Coco Martin but at the same time I know how good it is as a propaganda appropriation. Because now you look at the police and our nerves don't go up like that. Before when I used to see police, military, I'd like to bust their heads. Sorry, sorry, sorry. I'm not a violent person but I would have liked to bust their heads. Pero Coco Martin, I would like to have a selfie with you. Oh, yon. Yon ang discourse on the military now has changed. Discourse means modes of knowledge. We must be always aware about what discourses coming from television, coming from the movies, coming from books, all of this. What are they telling us? A post-colonial perspective, I said also, critiques how non-western and Filipinos, non-westerners or Filipinos have been and continue to be constructed. You see the word constructed meaning ginagawa is being made or represented as Europe or Britain or America's ontological other. What does that mean? Ontological other. In other words, there is no essential me. There is no essential self. So to be America or Europe, Americas or Britain or Europe's other means that we are their opposite what westerners are not through their cultural practices and texts. But there is no essential like that. So if you accept that, that means you have been hegemonically predisposed to accept it but that's what we should fight. And this is how Jacques Lacan comes into the picture. He has a theory that talks about how we become subjects. Remember if you're a subject, you're here. Because there are rulers and you become subject, right? So he says, how have we been made to accept supposed truths that our culture and people were inferior to or less developed compared to the cultures and peoples of Europe, Britain and the United States? Well, remember man in French is silent H. So he has this theory of subject construction. The baby when he's born is like an omelette. So it's a play on the word omelette, the eggs with no sense of identity is spreading in all directions. Then the child goes through what is called a mirror phase when he acquires an imaginary self. You will ask why imaginary self? He is actually not the freely thinking and freely acting individual that liberal humanist ideology makes him believe he is. Instead he has become a subject of liberal humanist ideology. So when you are in the west, especially well that has been there for such a long time we question it only after we were liberated supposedly from the Americans. It means that the child as she is acquiring language is beginning to think that oh I am becoming a very good member of this community. That's why it's imaginary. Because in fact he is taught, let's say boy the meaning of boy is taught free the meaning of what it means to be free. I am free, I am a boy I am tall I am guapo I have looks. It goes on and on until he enters the symbolic order which is the society. Now what happens to him, he becomes the full subject of the humanist ideology. But we're saying that it's not true because he is not freely acting and he is not freely thinking. So these are among the things that we should look at. What are the what is the canon that is thought of to be universal? The western canon Aristotle was talking about in his poetics. Greco-Roman literature I mean these are the Greco-Roman literature like Iliad, Odyssey supposedly by Homer and then you have Edipus Rex by Ace Clues. You have Bidea by Euripides and I Need by Virgil. So those of us who go through college and are made to look at the masterpieces will necessarily think that this is it. But you know Aristotle in his poetics actually was describing this everything here. But he was not saying this is it. It was only after that we made it part of the canon we thought that this is the best literature. And we should all follow that. That's why we now call the study of aesthetics, poetics based on our adherence to Aristotle. Then of course there is Shakespeare. I mean nobody but nobody will say na I do not. I don't know Shakespeare especially his place and his sonnet like Hamlet, Macbeth, Romeo and Juliet midsummer night's dream Machado about nothing. Who in his right mind will say before ha I don't know Shakespeare they'll say oh there why are you in the university you should have even learned about him when you were in K-12 so high school. Okay. They forget to the context of Shakespeare. Shakespeare was a man of the masses. He was giving his place of course to the masses the only thing that under the determination we should look at is how will you perform and how will you perform in front of the masses if you have no money. That's why there was the reality of having a donor or a patron and his patron was Elizabeth. Queen Elizabeth. But we looked at some determination say ayapala. He's really good so we should really study him as if this was it. If you're talking about comedy this is it. If you're talking about tragedy this is it. If you're talking about poetry this is it. Now let's look. So those are the so-called canon. Now let's look at something which we should really critique and it has to do with negative representations of the Congolese in the Congo during the 19th to early 20th centuries. Now some of us really read Joseph Conrad and The Heart of Darkness not realizing that there are so many racial slurs here and if you were to look at many of the lines there they're coming from the racism that used to infect European writers. Now if you have Heart of Darkness look at the racial slurs from the narrator character who is European his name is Milo and I'm quoting Milo Heart of Darkness remember that Western culture is developmentalist meaning its view is that you start from almost nothing nature then you go all the way up to Greco-Roman feudal industrial revolution and then you go forward to space age. So where is the Congolese state? Here is what they're saying. Going up the river was like traveling back to the earliest beginning of the world so that means that it's beautiful nature for the westerners it means you're going back to being primitive it's animal like precisely now and then a boat from the shore gave one momentary contact with reality and look at this it was paddled by black fellows emphasis on the black you could see from afar the white of their eyeballs gleaming ano yan you talking like a tiger you can see the eyes gleaming you could see from afar the white eyes eyeballs gleaming and then they shouted they sang their body streamed with perspiration what does that mean? it's all body and sweat whereas the westerners even if he's there in he will be dressed what else did they do? they showed they had faces like grotesque massed awala ano si ano they don't look like who are their gods? Poseidon? or even or even Achilles? no no grotesque, massed, muscle a wild vitality so all of these words in heart of darkness are actually racial slurs so we have to critique those and anything we find even if it belongs to one of our books we should be worried of perpetuating the same kind of racism that the westerners brought here and the word for that kind of racism was given to us by Edward Said again from the west remember these are guys who critique their own societies because they knew they were being unfair to the rest of the world so the critique of Orientalism is actually a critique of negative stereotypes of the Orient Edward Said is the guy who gave us the word Orientalism Orient is the key term the other one is Occident we used to have courses like Occidental Literature, Oriental Literature so even in our department we divide we used to have first word literature second word literature, third word literature we were perpetuating those kinds of things so Edward Said in his book Orientalism gave us a critique of that 1979 and he said the French and the British less so the Germans the French and the British less so the Germans, the Russians the Spanish, the Portuguese all of this were in some way perpetuating Orientalism a way of coming to terms with the Orient that is based on the Orient's special place supposedly in western in the western experience but in spite of that western supposedly western special relations with us we now know that the Orient is not only adjacent to Europe it is also the place of Europe's greatest and richest and oldest colonies remember in this part of the world you have India, you have China you have Southeast Asian countries and most of us were what we call that sources of all the riches that the West did not have in fact there is a story about how the westerners got our coffee okay Orient is okay something that we want to be conscious about never use the word Orient a mode of discourse or a form of knowledge by which Europeans and British societies were able to manage to manage that means to control or even produce the Orient produce the Orient this is again a construction because the Orient is actually Europe's cultural contestant they had to prove that they were better than China they were better than India and they were better than the rest of Asia this is from Said Orientalism or style of thought based on ontological ontological and epistemological distinctions and the occident and a very large mass of writers among who are poets, novelists, philosophers at China accepted this distinction between East and West that is in Said now like what what distinctions do they make they have all of these stereotypes about I'm going to do Kaui men and first women first I'm sure the guys know if they still are Orientalism mentalities will see this the representations of women from the near and Middle East these are belly dancers exotic and mysterious the Chinese women are supposedly sensual and malleable the Japanese women are passive and servile so the Filipinas are smiley sweet and servile and that is actually an amor solo painting so even our own national artists at one point in time we're doing representative we're doing orientalist representations of women so there they are but we should critique these kinds of representations of women the term was given to us phallogocentrism phallus what does that mean the phallus not the biological penis but the phallus is the male signifier of power and logocentrism means the ideology of binaries let's look at that logocentrism was given to us here we go Jacques Derrida now if you're going to fall asleep on me that's fine but go on because this is getting to be something tougher but something we should really try to learn logocentrism that is western it means that you think in terms of two binaries presence versus absence speech versus writing emotion versus emotion culture versus nature man versus woman self versus other all of those that I mentioned first these are all what are valued presence, speech reason, culture, man and self opposite these are negative absence, writing, emotion, nature other that was given to us by Jacques Derrida so that is western logocentrism what is the meaning of it that means you are not the at the bottom is you are not a person if you are not male if you are not cultured if you don't have reason if you are not dealing with people face to face if you are not there that is the meaning of all of this logocentric western now the westerners were not only thinking in terms of women, they were also thinking in terms of the men who they thought were sinister criminal, violent I didn't make this up I was able to get a piece of advertisement the blood of Manchu so there is this Chinese guy with his hat on and his Chinese costumes and his long mustache and he is represented as sinister, criminal and Manchu uh oh this one, there is another representation he can be young and full bodied very sensual and physical and the object of all especially white women so white women are supposed to be protected from this kind of male the dark especially black but sensual okay, the guys know what it is and this is I think the worst when this is I have a picture of a 30 year old um person from Sambia, Mil who is described as being sick of AIDS and being exported from, exported meaning exile from Africa and sent out into the world now this guy supposedly has AIDS so the advertisement after his name, the ad after his name is this in fact is an age terrorist and he is worse than somebody who is a suicide bomber so apart from that he is represented apart from being represented as dangerous he's supposed to be lasting after white women and he's supposed to have primitive urges so this is what the westerners think of us and this is orientalism, that is the orientalist those are orientalist representations that we should really actively try to critique okay Josephine Barrios Leblanc wrote about the Manungs or our field workers and fisher folk the first OFWs that went to California so he shows the kinds of they led the fact that they had to go there in order to be able to sustain their families in the bayan of Filipinas now the other postcolonial strategy I said apart from critique you have affirmation of newly constructed identities and cultural practices the emphasis is on newly constructed identities remember we were all destroyed we were the other so there is no essential us so we have to construct our identities from the formed identities that they had given us and the other one is our cultural practices all our practices reconstruct our fragmented identities and affirm our hidden or marginalized cultural practices in order to create new identities and modes of existence outside modes of existence outside the universalizing hegemonizing Eurocentric British centric and American centric perspectives oh my god that's so much so much work ahead can you imagine I did not mean that we should deny hamburger but you know more or less appropriated hamburger and made it even better excuse me for the advertisement that's why jollybee works everywhere including London because the ordinary meat was replaced by all kinds of things that made it better it's the same thing like our adobo adobo is not ours but we made it and appropriated it as our own and that's one of our best dishes now so we do our cultural practices outside the universalizing and hegemonizing Eurocentric, British centric and American centric practices okay what is our agenda through our work as writers, critics, cultural activists everybody all the way up to environmentalists we should aim to make whole make whole are fractured identities okay another word I want to give you is eccentric groups what are these eccentric eccentric means outside the center because the center is the metropolis outside USA outside UK outside western outside mainstream Philippine society as well so if you're Tiboli if you're Taosu if you're Ilocano if you're outside the Philippine national capital region that's eccentric eccentric EX not easy but EX at outside the center centric, marginalized, minoritized or even powerless so what are these these are the works of the working class the religious sector the Muslims like the Taosugs of Sulu the Maginda Naos of Lake Sebu and then you have the ethnic groups like the Ifugaos, the Ibanags the Etas, the Tabulis remember we have 100 languages that means you have 100 at least ethnolinguistic groups and then of course let me also say that there are the students and the women sector and then the children so these are your eccentric groups and then let me add the gays, the G4M the lesbians the bisexuals and the transvestites we have to let them all come out with expressions of what it is to be where they are so that we can have some kind of dialogue and we can start talking about the nation there are so many things we can do in terms of practices like for instance the rituals of the mad men or the taong potik ng aliyaga, nga vaisiya the fluvial parades of penya fransya the fiestas in the agonohigantes literature in the chapbooks not just books but in the chapbooks literature on blogs, like on facebook there is a facebook poetry there is a facebook that is full of poetry of different kinds of philippine forms then there is broadcast media this iwant tv through smart phones everything becomes source of what we can affirm and not only a source of what we can affirm but a source for producing also more of what we should be producing as a nation are through the metro LRT MRT insulation art bands like dong abao o viano so if you are talking about postcolonial strategies the second strategy is supposed to be looking for alternatives and one alternative we should be looking for are alternative histories of eccentric groups eccentric meaning outside the mark outside the center so one such book is passion and revolution by reynaldo leto the guy on the left and what he did was he studied the history of the revolution from the point of view of the so called millenarians millenarians or cap groups para sera utak but in fact they were not they were our own people now basileo malolos is another history book that we should look at but this is the form of dance when it was presented but the book is there by nikonor chong son and he talks about the women of malolos because the hoseris have talked to them and then there you have all of those books that actually talk about the nan the counter counter histories, counter literature counter everything because they were actually counter memories from the groups outside the national capital region although they were not called national capital region at the time, siya pagasinan leite, sebu, et cetera and I myself did as an M.A. thesis, I discovered that because of my teacher damiana yohenyo he said no you're not you'll do anything on manila do something about your province so I did something about my Lolo uncle Pablo Mejia turns out he was the most popular saswilista in Pangasinan during the turn of the century and what he did was that he created the olok mejia which was based in the gupan the nice thing to understand about Pablo Mejia's group was that he understood that there were two things that the saswellas had to do first, they had to make sure that the saswellas were anti-Spanish the sentiment against the Spanish was something that people understood but the second thing he wanted was that they had to have a damayan ala leito they had to understand each other as a community they had to sympathize with people outside their small bandua and think in terms of the entire archipelago and that was harder to do so let's see what the others did the others like Igmanig P, they're from Pampanga, what they tried to do also was to give their own version of what happened to them during the time that Pablo Mejia was also doing his saswellas but of course this is a modern group the other was Walang Sugat Walang Sugat at that time was a movie and of course nobody, none of us saw it but the point was that it kept on coming and reappearing in different forms, now this time it appeared, let's say at the other one as a show now a current show sometime in the 1990s there and then now you have women OFWs Solidad sister is something that is very important in terms of our learning what a counter-narrative could be it was done by Jose Dalisa Junior, one of our multi-awarded artist who talked about Solidad and OFW or Solidad sister the point of the novel is this it starts with a casket arriving at the airport and there is a sister that is awaiting the sister of so we don't know who is the one that died was it the sister of Solidad the point of Jose Dalisa is that you are used to having an intelligent intelligent narrator meaning as long as you follow him or her you will know what's happening that is a western realist form he starts with nothing no intelligent narrator and then it is about an OFW now the OFW is accompanied by a policeman who tries to figure out what's happening who killed Solidad or Solidad sister and we don't know whether it's Solidad so until the end there is no denom so there is no exposition there is no rising action there is no climax and there is no denom because he's actually saying meaning Jose Dalisa if I will be allowed to interpret him he's actually saying why is the OFW situation so easy to define it's all still all conflict ridden oh the other thing to introduce in the 90s as a kind of counter narrative is gay literature and the group of Jane Ilgarcia Dr. Drimoto Dany Reyes these were the people who did this we know in ordinary parlance what it means you come out gay now the thing that we lack now is an actual lesbian anthology and I am awaiting a lesbian anthology a transvestite anthology and bisexual anthology so that's next now Dilliman review has been there for more than 50 years in fact we have 1952 so when I was the editor of that I tried to make sure that there was no gap there was a 5 year gap so what I did is I went backwards so this is the Dilliman review and if you look at this okay these are done actually by our young artists that's why I also look at the artistry of these people this one is one of our iconic figures he's supposed to be Zorro by Mark Sullivan and Don Mark Sullivan this guy walks around campus so you say Dilliman UP Dilliman you talk about him but this is very important but look at the one that's inside it's actually the case for structure in 21st century fiction by Aureus Carlos Aureus the aso culture in Ibalong speaking of the subaltern by Noel Montinola so Moratilia I'm sorry post-modern inclinations the poetry of Frank Simatoo so Moratilia is based in UP in the Arabarangay based on works on Frank Simatoo and other Baguio Baguio writers Eric Gamalinda's empire of memory as historiographic is very but at the same time it's done by a young Waldo Petralba in his 30s or 40s practical arts by Giesel Duque so it's done by a young writer non-fiction and then Starlet Sacrifice a Splat Fury a performance text by Yasson Banan so those are the examples of things we get and look at this this is by another artist Amanda Ligasto and it says in your shoes and then this one is supposed to be the Oblation Run but this guy Mark, he wants to go to NASA so what he did was he put his aspirations here he made the Oblation Run Oblation Run which is a ritual every year he made he made them look like astronauts this one of course people from Diliman know that there has always been that rumor that the library up there in the library which used to be the College of Fine Arts you have all these diwatas so this is the interpretation diwata or duende if you want to and nobody can escape this now this is called basic food group you know these are stick food so everybody who comes here who is more like 60 years old they look for the toron not realizing that eto na, meron ng sisig meron ng street balls meron ng lahat ng gusto mo sa mundo and this of course is our lagoon with the stones by Roman Lito Francia so I'd like to show that our artists yes artists were very active and they're still active now now our of course we were learning from Francisco Arciliana who was one of the first writers in English and we celebrated his 100th birthday so that book has been redone so that you have his new collection by his wife Arciliana collection of Francisco Arciliana and then the criticism about him done by Ligia Arciliana now this is a group of people who are working with me now they're actually the millenials writers committed to the Debayans so you have for instance the one of Body Hall by Alan Husto Pastrana you know Hemino Abad one of our Professor Emeritus he's our Professor Emeritus who said Body Hall he has five of the best poems in the entire collection of Philippine literature in English that's coming from Hemino Abad oh my god and then this one by Ned Parfan it's also one of our young writers who talks about his experiences as a young man and many of this many of these collections are so dark this is the millenials these are the millenials talking then looking for Polaris is by Don Marfield looking for Polaris meaning the North Star because in her life she almost sinks down to a pit but because she has the Polaris to look at the North Star she can't survive and she was given a very beautiful introduction by Cristina Pantoja Hidalgo so these are the millenial writers and they so don't say that the millenials don't care, they do care and they're there and they're available please look for them and of course see Louis de Vera has always been there now he has this cute I wanted to say cute but he's all serious in other words she has one-liners she has speeches she has essays in this collection it is so small and I hope you get it because Louis de Vera is one of those people who matagal na anthay na siya meaning it's postcolonial already so all of our societal practices the ones I showed you and texts can be used to construct our sense of country or nation or bayan but what is a nation? or a bayan and may I quote from Renan a large aggregate of men healthy in mind and warm of heart creates the kind of moral consciousness moral consciousness which we can call a nation so long as this moral consciousness gives proof of the strength by the sacrifice which demands the abdication of the individual the abdication of the individual to the advantage of the community it meaning the nation is legitimate and has the right to exist says Renan and what else? so this is long, this is important a nation is a soul a spiritual principle two things which in truth are but one constitute the soul or spiritual principle one lies in the past and one is in the present now let me just put that together in other words we have a legacy that we are proud of to get together and then we want to live as a community that's where we are talking about the future but the but here is that we have to be proud of our past and yet our own hero say the Philippine Revolution remains unfinished why? because it was wage and yet we did not get what we wanted this is what Jose Rizal our hero address Bonifacio another hero and our Tamiri Carti said in vision and they had fought for an egalitarian society which is where? nowhere there is this you can get a DVD Bonifacio ang unang pangulo at sakasi General Luna both of them show what they did to create that nation and yet what happened was that nothing we did not get the society we wanted in fact they were both murdered if you want the whole history of that the one that became the movie look at the the work of Dr. Vivencio it's actually a book and Dino said really researched on what happened to General Luna and what happened to us why did we fail during the revolution now there are so many other things we can read for instance Virilio Armario's own discussion of Jose Rizal and what he thought about the revolution in my book what I edited with 35 of Philippine studies how we got by St. Louis I found this essay according to Daemon Woods Bayan is equals means once location fine we know that it's a geographic location but what we should add is that it is a relationship of people in that community it means that you're not only talking about your location you're also talking about yourself as part of a group now this word Bayan will continue and at present it can be used to refer to different communities and it will include all of our ethnolinguistic groups and in the future this Bayan can include through diasporic studies the Filipinos so are in Canada, Australia everywhere in the world because they are now fighting for what they say is called binary nationalisms so postcolonial strategies for writers everybody in other words should be about creating a new social formation and a new identity so that we can create a nation we suggest that we utilize the different postcolonial strategies to recuperate re-semanticize our different languages practices and texts within which we produce within which we produce or study or teach everything that has to do with our construction of Filipino hood I say Filipino hood because there is no essential Filipino we become Filipinos in the same manner there is no such thing as what is a bayan no, we create the bayan let's see so bayan or mother country was always the Filipino writer's first muse that is Hemina Obad but we can say bayan or country has always been our muse okay so you can look at Hemina Obad's statement on that that's the reason why we call inang bayan there are so many songs about inang bayan it used to be just one river in Manila now you can say of the entire Filipinas we can call it inang bayan so in I will just give you an example of we need visionaries and where they make Icarpe tibulis this tape shows us that you have to have a visionary in order to make the Icarpe and that Icarpe becomes your vision of what the future shall be so it's the same thing with us we need visionaries who will be dream weavers we should dream weavers our bayan this one by Amanda Amanda Legasto it tells us what we should be doing as teachers that kid, this is an award winning piece by the way the cover of my metro bank book which included all the essays of those who won for the search for outstanding teachers about their experiences in trying to educate people so that we become free people this one is the price of education and what does it mean here's this little kid he's so burdened by his apple and the apple is education so in other words education is not doing anything for him let's see the others here the perspective we saw that it's a perspective in my shoes and it's still nothing, it's just what the same universe okay this one is well if we are not careful because if you will notice the title is called meet if we are not careful about what we do with our environment and especially with the animals in our environment the artist Don Sullivan says okay, you will become meet malik paran na lang this one is actually Filipino Gothic is an appropriation of American Gothic in American Gothic you have a cathedral at the back and you have two people start to defend yung parang abor again so in a way it is a supposedly do not be too hard it is a critique of being too absolute but you know part of the joke is that this has become appropriated and sold to a eatery in near UP dili man pang steak yan ang titataw na yung this is an example of a kind of CD based on a television interview called non-sense because it is being it was hosted by a non-sister Mary John at the top because women in history and it had professor Mila Guerrero it had professor Femmangahas and it had me, legasto okay and this is the other books which you can see waiting for my healing and feminista on women and this book Philippinianary there contains again a series of materials and I hope you can get it it became the basis for the first open course on cultural studies filipiniana online filipiniana is the word we use for filipin material so many contributors were also from abroad and then it became the basis of the first web course by the UP Open University it became eventually cultural studies 250 filipiniana online is the companion reader okay these are the women we owe we owe for being so forward before this is Amelia La Penia Bonifacio professor of many tools and she was the author of seditious Tagalogs playwrights early American occupation and the other one was named Fernandez author of Palabas so it's about filipin theater and of course the reason I put that there and the reason why we get it is because it's about China China is just there and it tells us that they were the Chinese the Chinese built the wall so that means they're so determined they were fighting the moguls I was there 1990s the Chinese from the rural areas went to the cities but then that's what they showed the difficulties of competing with China because we tried to have adequate wages I don't know what happens in China so let's do it it's a favorite of our friend from the department of medicine before doctor let's do it he says and then I would say because we are UP nowhere to go but up