Istoryan Writers

[Lubi]

---

Bisaya Magasin
Panid 18-19, Isip 11, Tuig 79
29 Oktubre 2008

Ang Lunsayng Bisaya Ug Ang Kinaunhang Proyekto Niini
Ni Omar Khalid

Ang bag-ong panahon nag-itsa og bag-ong mga hagit. Ug kini nagkinahanglan sab og bag-ong mga tubag. Tinuod dili kalikayan ang dayaspora sa kaliwat nga Bisaya sa pagpangita og tingusbawan. Ang tanan naghiusa niining pagpangita sa paninapi. Apan ang tanan nagkahiusa usab sa dalan balik sa sabakan sa kaliwat. Kining tanan tinuod sab sa Lunsayng Bisaya.

Ang <a href="http://groups.yahoo.com/group/bisaya">Lunsayng Bisaya</a> usa ka balayang grupo sa mga internet user kansang mga sakop managtagbo-tagbo pagposte og mga tema kalabot sa daghang mga butang may kalambigitan sa kailhanang Bisaya. Usa ka on-line forum para sa mga Bisdak.

Ang intelektuwal nga publikong diskurso nga nagpatong sa hataas nga order sa panabot mao ang ginadawat nga batakan sa pagposte ug dili lang kinanaas sa mabawng sapa. Ang mga natad nga sabog ginahisgotan mao ang relihiyon, arte, pilosopiya, pinulongan, musika, pamintal, katitikan, kultura, kasaysayan, ug uban pa. Pintok ang mga pamunto. Ug kinahanglan suportado sa hustong argument ug pamatuod. Kay kon dili, may usa nga andam moikos sa iyang alkontra. Bisan makalilisang ang mga diskusyon apan kay managsama mang nagsagop sa pamatasan sa pamaaging parlamentaryo, mosangko ra gihapon sa parehas nga tumong. Magposte kag sugilanon kun balak ug tabangan kinig kuniskunis sa mga sakop nga kritiko. Ug kining tanan sa pinulongang Binisaya. Binisaya? Oo!

Marso 16, 2002 opisyal nga narehistro sa portal sa yahoo groups ang Lunsayng Bisaya. Apan ang message board nasubhan pagposte sa kinaunhang mensahe niana nang Marso 25, 2002 sa alas 5:23 sa hapon. Ug ang misunod usa na ka kasaysayan. Sa labing uwahing talaan, aduna nay 13,783 ka mensahe nga naposte sa message board sa LB nga gikan sa sangasangang message thread sa lainlaing tema. Hunahunaa lang kon unsa na kalapad sa database niining grupoha nga igo na kaayong himuong tinubdan alang niadtong buot mosinati sa intelektuwal nga diskusyon sa grupo.

Sa labing uwahing talaan, ang Lunsayng Bisaya aduna nay sakop nga 543 ka internet user nga nagkatag sa lainlaing bahin sa kalibotan. Ug makakugang ang kasayoran nga may mga sakop sab dinhing mga langyaw (duna ganiy Pranses nga eskolar ug usa ka Katsila.) Ang matag sakop adunay kaugalingong kawsa nga gibarogan ug busa mapaabot ang lainlaing mga baroganan sa nagkalainlaing hilisgotan.

Kining maong panaglahi sa panglantaw nagkahiusa dihang giitsa ko kanila ang hagit. "Hangtod na ba lang kita sa pagpakita sa atong pagka Bisaya? Di ba diay mahimong hubaron ta kini sa lihok?" pahunat ko kanila. Ug mingsunod ang daghang sugyot hangtod naumol ang pagpaluyo sa usa ka tigi sa sinulatay. Gihapak ko ang gabel sa pagserado sa tanan. Ug dihadiha, gihan-ay ko ang mekaniks sa tigi ug gipadesisyonan sa kasakopan. Gisipong ang dugang sugyot ug giunod sa gihimong sumbanan.

Halos nag-ilogay ang mga sakop sa pagtanyag sa ilang panabang. Ang mosunod mao ang mga magbubulig nga sakop:

Giyak-an ni Atty. Manuel Lino Faelnar ang paghatag og P3,000.00 isip ganti sa makasakmit sa Unang Dapit. Si Bay Manny, gawas sa usa ka way kaluyang sakop sa Lunsayng Bisaya, direktor sab sa LUDABI ug DILA (Defenders of the Indigenous Languages of the Archipelago). Sa iyang pagka lunod-patayng Bisayista, daghan na siyag katigomang akademikanhon nga natambongan pinaagi sa pagpresentar og mga papel kalabot sa pinulongan ug sa pagpanalipod niini.

Ang salaping P2,000.00 nga iganti sa makailok sa Ikaduhang Dapit gisabak usab ni Bay Pete Dulanas. Sa wa pa molangyaw sa Amerika, si Bay Pete konektado sa sektor sa pamangko. Gani, tungod sa iyang pagmahal sa kulturang Bisdak, may higayon nga mikalit siyag butho sa Cebu aron pagtambong sa basabalak sa Kahayag Café uban sa mga sakop sa Bathalad-Cebu. Si Bay Pete ang di matarog kong katubay sa Lunsayng Bisaya kon ang arte ug teolohiya na ang hisgotan. Managlahi man tuod ang among baroganan apan pagparayeg ko kaniya, wa na gyud siya molantugi pa. Niya pa: "Aw, o, sige, Bay. Akoy hatag ana."

Ang salaping P1,000.00 nga gitagana alang sa palarang makadughit sa Ikatulong Ganti gihatag usab sa maayong kabubot-on ni Bay Hector Suano. Gani, siya man usab ang mipaluyo sa tulo ka tropeyong ipahalipay sa mga mananaog.

Sa pagkatinuod, kon wala si Bay Hector, dili maugmad ang Lunsayng Bisaya isip usa ka malamposong grupo sa internet nga gisakpan sa mga nagmahal sa kulturang Bisaya. Siya ang nangahas pagrehistro niini sa yahoo groups. Ang iyang pag-alagad sa Simbahan isip paring sakop sa Missionary Society of St. Columban wala mahimong babag sa iyang buluhaton isip moderator sa Lunsayng Bisaya.

Ang mga mananaog niining maong tigi hatagan usab og subsidiya sa ilang pamasahe aron makatambong sila sa pagahimoong seremonya sa pagtunol sa ganti (nga ianunsyo lang unya kon asa ug kanus-a). Matag usa sa tulo ka mananaog makadawat og pamasahe nga P500.00. Kining tanan gitubag ni Engr. Jessie Baring. Si Bay Jess usa ka Sugboanong imbentor ug sakop sa nagkalainlaing kapunongang sibiko. Dugay na siyang lumalaban sa kulturang Bisdak ug sa bisan diing katigoman nga siya ang tahasang manimon, hugot gayod niyang gibarogan ang paggamit sa dila ni Lapulapu. Lumilihok usab siya sa LUDABI ug mag-apilan sa mga basabalak sa Bathalad-Cebu, ug busa ang kasingkasing niya nagbaton usab sa mithing maartehon.

Paningkamotan sa grupo nga ang tigi mahimong tinuig. Saad kana nga hugot nga gibarogan sa kasakopan. Ug uban sa pagsuporta sa mga sakop-esponsor niini, gitinguha usab nga himoong makapatulo sa laway ang mga ganti sa umaabot.

Manghinaot ko nga salmotan kini sa mga magsusulat nga lumalaban sa kulturang Bisdak. Hibaw-i nga sa kasaysayan, ang kinaunhan maoy dugay malimtan. Kon kinsa ang mga mananaog ning tigia, mahalista siya sa kasaysayan sa Lunsayng Bisaya isip kinaunhang mananaog sa tigi.

[Lubi]

Mao ning gitaho ni Bay Tomas, sa resulta sa tigi sa pagsulat og sugilanon nga gipasiugdahan sa Lunsayng Bisaya:


Kaubanan,
ani ang kompletong talaan sa mga mananaog sa atong gipaluyohan nga "Lunsayng Bisaya Tigi sa Pagsulat Og Sugilanon".

Unang Ganti --- Gremer Chan Reyes sa iyang sugilanon nga "Ang Tawo Sa Payag Nga Way Bungbong"

Ikaduhang Ganti--- Lamberto G. Ceballos sa iyang sugilanon "May Higayon sa Pagbawos"

Ikatulong Ganti --- Miguel Canubida Obial, Sr. sa iyang sugilanon nga "Lamdag".

Atong pasalamatan ang mga kauban nato nga nagpaluyo sa mga ganti. Pasalamat kang Bay Manny Faelnar sa iyang paghatag sa ganting salapi (P3,000.00) alang sa Unang Ganti. Kang Bay Indong sa iyang paghatag sa ganting salapi (P2,000.00) alang sa Ikaduhang Ganti. Kang Bay Tig sa ganting salapi (P1,000.00) alang sa Ikatulong Ganti. Ug kang Bay Jess sab sa iyang subsidiya sa pamasahe sa mga mananaog (P500.00 kada usa).

Pasalamat sab kang Bay Tig sa dugang niyang pagpaluyo sa mga plake nga labihan katahom.

Sunod tuig puhon, hinaot padayon tang magpaluyo sa mga programa sa Lunsayng Bisaya.

Mabuhi tang tanan!

Bay Tomas

[diem]

Hello Istoryan Writers! Do you want to know how prolific and popular author Paulo Coelho interpet the creative process of writing?

The creative process according to Paulo Coehlo

Spoiler! 

All creative processes, be they in literature, engineering, computing - and even in love – always respect the same rules: the cycle of nature.

Here is a list of the stages along this process:

Ploughing the field. The moment the soil is turned, oxygen penetrates places it was unable to previously. The field gets a fresh look, the earth which was on top is now below, and that which was
underneath has come to the surface.

This process of interior revolution is very important - because, just as the field's new look will see sunlight for the first time, and be dazzled by it, a new assessment of our values will allow us to see life innocently, without ingenuity.

Thus we will be prepared for the miracle of inspiration. A good creator must know how to continually turn over his values, and never be content with that which he believes he understands.

Sowing. All work is the fruit of contact with life. A creative man cannot lock himself in an ivory tower; he must be in contact with his fellow men, and share his human condition. He never knows, at the
outset, which things will be important to him in the future, so the more intense his life is, the more possibilities he will create for an original language.

Le Corbusier said that: "As long as man tried to fly by imitating birds, he couldn't succeed." The same applies to the artist: although he translates emotions, the language he is translating is not fully understood by him, and if he tries to imitate or control his inspiration, he will never obtain that which he desires. He must allow his life to sow the fertile soil of his unconscious.

Growth. There is a time in which the work writes itself, freely, at the bottom of the author's soul - before it dares show itself.

In the case of literature, for example, the book influences the writer, and vice versa. It is this moment which the Brazilian poet Carlos Drummond de Andrade refers to, when he states that we should never try to recover lost verses, for they never deserved to see the light of day.

I know people who, during a growth period, spend their whole time furiously taking notes on everything which comes into their head, without respecting that which is being written in the unconscious. The
result is that the notes, which are the fruit of memory, end up disturbing the fruit of inspiration. The creator must respect the time of gestation, although he knows - just like the farmer - that he is
only partially in control of his field; it is subject to drought and floods.

But if he knows how to wait, the stronger plants, which can resist bad weather, will come to light with great force.

The Harvest. The moment when man manifests on a conscious plane that which he sowed and allowed to grow. If he harvests early, the fruit is green, if he harvests late, the fruit is rotten. Every artist
recognizes the arrival of this moment; although some aspects may not have matured fully, some ideas not be crystal clear, they reorganize themselves as the work is produced. Without fear and with great
discipline, he understands that he must work from dawn to dusk, until the work is finished. And what to do with the results of the harvest?

Again, we look to Mother Nature: she shares everything with everyone. An artist who wishes to keep his work to himself, is not being fair with that which he received from the present moment, nor with the
inheritance and teachings of his forefathers. If we leave the grain stored in the granary, it will go bad, even though it was harvested at the right time.

When the harvest is over, the time comes to share, without fear or shame, your own soul. That is the artist's mission, however painful or glorious.

[diem]

The Dumaguete National Writers Workshop is now accepting applications for the 48th National Writers¹ Workshop to be held May 4-15, 2009 in Dumaguete City.

This Writers Workshop is offering fifteen fellowships to promising young writers who would like a chance to hone their craft and refine their style.


Fellows will be provided housing, a modest stipend, and a subsidy to partially defray costs of their transportation.

To be considered, applicants should submit manuscripts in English on or before March 27, 2009 (seven to ten poems; or three to five short stories; or three to five creative non-fiction essays).

Manuscripts should be submitted in hard copy and on CD, preferably in MS Word, together with a resume, a recommendation letter from a literature professor or a writer of national standing, a certification that the works are original, and two 2X2 ID pictures.

Send all applications or requests for information to Department of English and Literature, attention Prof. A.G. Soluta, Chair, Silliman University, 6200 Dumaguete City.

[diem]

TABOAN: PHILIPPINE WRITERS FESTIVAL, A SUCCESS
by Arvin Abejo Mangohig

Judging by the number of photos uploaded to Facebook and favorite writers tagged, Taboan: Philippine Writers Festival can be called a complete success. Gathering over a hundred delegates enamored with the written word, Taboan is part of the Philippine International Arts Festival. Hosted by the National Commission on Culture and the Arts, Taboan and seven other main projects form the National Arts Month 2009. February 11, 12 and 13 were the red letter dates for Philippine literature.

For three days, writers, teachers, students and literature lovers converged in UP Diliman, Ateneo de Manila University and Cubao Expo. Sessions on the writing profession were graced and moderated by literary giants like National Artist F Sionil Jose, UP ICW director Jose Dalisay, Vim Nadera, Gemino Abad and Cristina Pantoja Hidalgo for the UP leg. Welcome remarks were delivered by Chancellor Sergio Cao. Also present were NCCA chair Vilma Labrador and Taboan festival director Ricky de Ungria. Dinner was hosted by no less than UP President herself Emerlinda Roman.

On the second day, the delegates, who came from all across the Philippines, crossed Katipunan Avenue for sessions at the Ateneo. The likes of Karina Bolasco, Allan Popa and guest foreign writer Prabda Yoon sat in forums like Publishing for the Future and Feminism in Our Midst.

Younger writers took over for the Cubao Expo leg. Coordinated by Sarg Lacuesta, the Cubao Expo day was filled to the brim with junior writers like poet-critic Neil Garcia, Dean Alfar and Alvin Yapan participating in sessions like The End of Print and Linggo ng Wika. Lacuesta and Joel Toledo hosted a plenary discussion entitled Dear NCCA.

Festival director de Ungria was ecstatic at Taboan's success and called it "a Woodstock of writerly proportions." Lacuesta noted that the great energy and the exciting, vibrant discussions were inspiring. Delegate Edgar Samar, who had just recently launched a novel, was distraught he could not attend all the sessions. He looks forward to a weeklong Taboan for next year.

A yearly affair like Taboan would surely contribute to the development of Philippine literature, thanks to the NCCA, the universities, the institutions and the individual writers who made this festival of letters a true meeting of the minds.

Source : panitikan.com.ph :: Philippine Literature Portal

[diem]

What should you expect from a worthwhile fiction workshop? Here's the inside scoop from Charles Johnson courtersy of Writer's Digest.

[diem]

59th Palanca Awards Now Accepting Entries
Introduces `Poetry for Children' As New Category

On its 59th year, the Carlos Palanca Memorial Awards for Literature (Palanca Awards), the country's most prestigious and longest-running literary contest, officially opens on March 1, 2009.

This year, the Palanca Awards announces the introduction of two new categories – Poetry Written for Children in the English Division and Tulang Isinulat Para sa mga Bata in the Filipino division.

In these new categories, envisioned to encourage the development of a body of poetry for young children, an entry must consist of a collection of at least 10 but not more than 15 poems. It may deal with any subject and must be comprehensible within the grade-school reading level of
children ages 6-12, but accessible in its oral form by younger children.

The complete regular categories under which participants can submit their entries are: English Division – Short Story, Short Story for Children, Essay, Poetry, Poetry Written for Children, One-act Play,
Full-length Play; Filipino Division – Maikling Kuwento, Maikling Kuwentong Pambata, Sanaysay, Tula, Tulang Isinulat Para sa mga Bata, Dulang May Isang Yugto, Dulang Ganap ang Haba, and Dulang Pampelikula; Regional Languages Division – Short Story-Cebuano, Short Story-Hiligaynon and Short Story-Iluko. Each contestant may submit only one entry per category.

Meanwhile, in the Kabataan Division, Palanca Awards' special division for young writers below 18 years old, the Kabataan Essay theme in the English category is "How can the Filipino youth help build a
globally competitive nation?" and in the Filipino category "Paano makatutulong ang kabataang Filipino sa pagtataguyod ng isang maunlad na bansa na maihahanay sa mga nangungunang bayan sa buong
mundo?"

The literary contest is open to all Filipino (or former Filipino) citizens, except current officers and employees of its organizing body, the Carlos Palanca Foundation, Inc. Contest rules and official entry
forms are available at Palanca Awards' official website,

OpenDNS. com.ph <http://www.palancaa wards.com. ph/> .

Entries with complete requirements may be submitted to the Foundation's office at the 6th Floor, One World Square Bldg., 10 Upper McKinley Road, McKinley Hill Town Center, Fort Bonifacio, Taguig
City or may also be entered online through the Palanca Awards website or sent through email at palancaawards@ yahoo.com <mailto:palancaawards@ yahoo.com> .

Deadline of submission of entries for this year's awards is midnight of April 30, 2009. Winners will be announced on September 1, 2009.

For further information, you may call telephone number 856-0808.

[diem]

Here are some thoughts of Professor Butch Dalisay: author, columnist and director of the UP Institute for Creative Writing, on the matter of self-publishing.

Spoiler! 

It used to be that the worst crime you could commit as an author — aside from writing atrociously — was to publish yourself, meaning, you paid to get your manuscript in print. The suggestion was that you needed to publish yourself because



1) your work was so bad you couldn’t find a decent publisher;



2) You were too proud and impatient to submit yourself to the usual publication process; 3) you had too much money, or at least enough to publish your own book and give them away to friends; and 4) all of the above. This was why the practice was called “vanity publishing” — you published your own book, and risked being its only reader.


Of course, we forget that there was a time, before the advent of the big publishing houses and even the small presses, when self-publishing was the only way to go. A self-publisher like Walt Whitman, Henry David Thoreau once lamented that “I have nine hundred books in my library. Seven hundred of them I wrote myself.”


But later, as commercial and academic publishing grew into an industry and established certain standards, vanity publishing fell into disrepute. It was seen, with some reason, as the recourse of the desperate and the gullible. Frustrated writers who just wanted their name in print forked good money over to “publishers” (actually little more than printers) who put out ads in the back pages of perfectly respectable magazines like The New Yorker soliciting “new authors.”


Willing and paying clients did get hundreds of copies of handsomely produced books delivered to their doorstep, with their names boldly emblazoned on the spine — only to soon find themselves sharing Thoreau’s predicament. (As authors quickly realize, printing is the easy part of publishing — marketing and distribution is more difficult.) It didn’t mean that all books published this way were bad; it was just harder for them to get serious attention.


But much of that is changing, and technology is the reason. Two years ago, Time Magazine was already saying this: “Self-publishing, the only real success story in an otherwise depressed industry, is booming, thanks to the Internet, digital cameras and more sophisticated digital printing. It’s also gaining respect. No longer dismissed as vanity presses, DIY publishing is discovering a niche market of customers seeking high-quality books for limited distribution.”


Just this January, Time followed that up by reporting that “Saying you were a self-published author used to be like saying you were a self-taught brain surgeon. But over the past couple of years, vanity publishing has become practically respectable.



As the technical challenges have decreased — you can turn a Word document on your hard drive into a self-published novel on Amazon’s Kindle store in about five minutes — so has the stigma. Giga-selling fantasist Christopher Paolini started as a self-published author. After Brunonia Barry self-published her novel The Lace Reader in 2007, William Morrow picked it up and gave her a two-book deal worth $2 million. The fact that William P. Young’s The Shack was initially self-published hasn’t stopped it from spending 34 weeks on the New York Times best-seller list.”


One key factor is print-on-demand (POD) technology, which, as the name suggests, produces supply based on demand: if you need just 10 copies for 10 confirmed buyers of your book, it will spit out just that many, sparing you the problem of unsold inventory. Per-copy costs, of course, will be appreciably higher. But without middlemen and storage to complicate things, you still might come out ahead this way.


During last month’s Taboan writers’ festival, Bacolod-based writer Elsie Coscolluela was telling us how her university invested P5 million in a POD operation that now serves all comers and is able to produce a book within minutes for around P300 per copy. That’s not too far from what the same book will cost you in the bookstore, markups and all.


And why even go to print? For some kinds of work that — let’s face it — will never really sell, like poetry, the Internet’s reach seems far more attractive, and it’s practically free. When a young man asked me at Taboan what I thought the best path to getting published was, I told him, “the fastest one.” If I were 30, I said, I wouldn’t think like a 50-year-old, waiting to be published by some university press. With talent and perseverance, all that respectability will come, but for now, getting that book or its digital equivalent out might be the more urgent imperative.


It was only after we had ended the session that I remembered something I should have noted — my very first book, Oldtimer and Other Stories, was essentially self-published in 1984, when I was 30. My friend Raffy Benitez had just started a printing press and had some leftover paper and ink; I had 10 stories that looked ready to go. And so they went.

Courtesy of the Philippine Star

[diem]

The Maningning Miclat Art Foundation is calling on young poets aged 28 and below to submit entries to the 2009 Maningning Miclat Trilingual Poetry Competition in three divisions: Filipino, English and Chinese.


An entry must have at least eight but not more than 15 poems. Authors may join all the divisions but can submit only one entry in each division. All entries should be original in any of the three languages and not a translation of another entry.


Four copies should be submitted, with the poems printed double-spaced on regular bond paper with one-inch margins on all sides, using Arial or Times New Roman size-12 font. Only a pen name must be printed on an entry, with the real name and pen name submitted in a separate sealed envelope together with the entrant’s biodata, birth certificate copy, and a notarized declaration of originality and authenticity of authorship.


Entries must be addressed to the Maningning Miclat Art Foundation, Inc. (MMAFI), 2nd Floor, Mile Long Building, Amorsolo St., Legaspi Village, Makati City (Tel No. 816-7490 to 91) not later than 5:00 p.m. of April 15, 2009. Entries sent by mail should be postmarked/invoiced not later than April 1, 2009.


The Maningning Award, handed out yearly since 2003, honors China-born Maningning Miclat, a poet in three languages, a published essayist, and a prizewinning visual artist who was also a teacher, translator and interpreter. Her collection Voice from the Underworld (Anvil Publishing, Inc., 2000) is the first book of poetry in the world in Filipino, English and Chinese written solely by one author. Some of her poems were included in a book of top international women poets in Chinese published in China. She passed away in September 2000.


The Maningning Miclat Art Foundation was formed in 2001 to carry on the artist/poet’s legacy, encourage creativity, and support outstanding young poets and artists. The trilingual poetry competition is held during odd-numbered years, while the painting competition is held during even-numbered years.


Grand winners in the divisions of the Poetry Competition will each receive P28,000 together with a Julie Lluch trophy and the special collector’s edition of the books Voice from the Underworld, Beauty for Ashes: Remembering Maningning and Beyond the Great Wall: A Family Journal, which won a 2006 National Book Award for biography.


Past winners of the Maningning Poetry Awards are Naya Valdellon and Joselito delos Reyes in 2003; Allan Pastrana, Joseph Saguid and Ye Cai-sheng in 2005; and Raymond John de Borja, Erica Clariz delos Reyes and Chen Si-yuan in 2007.


For more information on the 2009 Maningning Miclat Art Competition, e-mail maningningfoundation@gmail.com or amiclat2008@yahoo.com. You may also log in to www.maningning.com.

[Lubi]

Omar Khalid (Tomas Sumakwel) writes about Mubong Kurso sa Pagsulat og Sugilanon (Seryal 1-10)
in Sugilanon Bisaya
Sugilanon Bisaya: Mubong Kurso Sa Pagsulat Og Sugilanon (Seryal ni Omar Khalid)