Songs Remembered in Exile

Peeters Publishers, 2021

Likhaan: The Journal of Contemporary Philippine Literature, 2020

awan mula sa mga kuwento ng mga mangingisda sa amin. Isa itong malawak na fishing ground na dinarayo ng mga mangingisda ng Catanduanes sa karagatang Pasipiko. Dose oras ang binubuno pagpunta rito. Iyon ay kung malinaw ang panahon, di malikot o di kontra ang mga sulog. Mula buwan ng Pebrero hanggang sa mga unang linggo ng Abril kung kailan madalas ang paglitaw ng mga subasko, umaabot ang biyahe ng labing-anim hanggang dalawampu't apat na oras. Iyon ay kung makararating ka sa Kalipung-awan nang buhay. At nang buo. *** Dalawang linggo matapos ang libing ng nanay ko noong 2011, nagpasya akong pumunta ng Dariao-ang baryo ng asawa ko upang maligo sa dagat. Katulad ng Maygñaway kung saan ako lumaki, coastal barangay rin ang Dariao. Ang pagkakaiba ng dalawang baryo ay ang uri ng dagat mayroon ang mga ito. Sa Maygñaway na isang baryo ng banwa ng San Andres, natatanaw pa ang mahabang masa ng Camarines Sur at karugtong na kalupaan nito. Samantalang sa Dariao na sakop ng banwa ng

Oxford Art Journal, 1998

2013

International Journal of Research Studies in Education, 2024

The study is an initial attempt to document idiomatic expressions used in oral conversations in the dialect spoken by the people in the town of Gubat, Sorsogon, Bicol Region, Philippines. Descriptive analysis was the method used in this research. Data was collected through interviews and focused group discussions that involved volunteer participants whose ages ranged between 28 and above. Thematic analysis was used in analyzing the answers to the question how well the people of Gubat understand the idiomatic expressions of their town. There are different themes that are inclusive in Gubatnon idiomatic expressions. These idioms reflect the culture of the town of Gubat, their geographic identity as well as their history. It is recommended that these idioms be used in making literary pieces like poems and stories so that the language of the town would be preserved and enriched. These idioms must also be used in schools most specially in the elementary so that the children will have a wider and clearer grasp of things using their very language. Parents are also encouraged to use idiomatic expressions at home so that it may be instilled in the minds of Gubatnon children hence the preservation of this beautiful culture of using idioms in everyday conversation.

Journal of Electronic Imaging, 2020

2017

2021

Ang pag-aaral na ito ay isinagawa upang mabatid ang pananaw ng mag-aaral sa paggamit ng mga sariling komposisyon ng panitikang pambata at antas ng pang-unawa. Sa pag-aaral na ito binibigyang katugunan ang mga sumusunod na katanungan: Ano ang pananaw ng mga tagasagot sa paggamit ng mga Sariling Komposisyon ngPanitikang Pambata bataysa nilalaman,layunin,disensyo/istilo, kasanayan/gawain; Ano ang antas ng pang-unawa ng mga tagasagot sa paggamit ng mga Sariling Komposisyon ng Panitikang Pambata batay sa Pang-unawang Literal at Pang-unawangKritikal; May makabuluhang kaugnayan ba ang pananaw ng mag-aaral sa paggamit ng mga Sariling Komposisyon ng Panitikang Pambata at Antas ng Pang- unawa sa Pagbasa; Ang pamamaraang palarawan-correlation ang ginamit ng mananaliksik upang makalap ang mahalaga at makatotohanang impormasyon na kinakailangan sa pag-aaral. Ang istatistikal na pamamaraan na ginamit sa pagsasaliksik ay weighted mean at standard deviation para sa pananawng mga tagasagot sa Mga Sa...

African Arts, 2021

T his interview was recorded at Susan Vogel's home in New York City on August 5, 2018 and subsequently debated and edited by RM and SV. As this was recorded three years before the publication date, the authors have chosen to leave the content unchanged to reflect the date of the recording rather than to update to reflect subsequent developments. Risham Majeed (RM): Let's talk a little bit about how we started out. I came to Columbia University as a PhD candidate in medieval art, having no ideas about Africa that were not inflected with politics in some regard. What was attractive about your classes, for me, was that you represented Africa in the same language as any other part of the world. The alternative is to insist on its particularity, without giving it the kind of language and context that the rest of art history has. Until that point, I'm sorry to say, my only encounters with Africa were on the news, growing up in London, through Bob Geldoff and his savior complex or in natural history museums. Such exposures were distancing and off-putting. So the approach I heard in your lectures, using the regular language of art history for Africa, was new to me and made Africa immediately familiar. Susan Vogel (SV): I think I've always wanted students and museum visitors to connect with African art on a basic human level-to be aware of the individuals who made and used and lived with these things in their lives, and to recognize that we all share the desires and concerns and needs that they were made to satisfy, despite what looked like enormous differences. And of course to see African art as a normal part of art history. RM: So you created a recognizable context for African art, an easy point of entry for a subject that I came to realize I didn't know at all. Others dealing with African art frequently underpin their arguments with politics; postcolonial struggle, rejection, or self-determination have become integral to a certain line of discourse on contemporaneity in Africa. I think it's been really valuable for my teaching of African art, to have learned it from your perspective, because it allows me to convey a political message without engaging in political language. Such issues are both implied and rejected in the manner in which you present it, rather than having to deal with it explicitly. I think that has informed many of your exhibitions too. Would you agree with that? SV: Of course. Though I'm talking here about historic African art. Even in the early 2000s it still seemed to exist in an "honored but secluded space" as [Robert] Goldwater had put it thirty years before-admired, but somehow outside art history. I always tried to counter that by connecting it to artworks that people already venerated and loved and felt comfortable with-which would validate it too. RM: Your exhibition Africa Explores in 1991 (Fig. 1) was an extreme example of trying to create a recognizable context for some unfamiliar art-the first attempt to deal with contemporary art in an instrumental manner. The ensuing critiques chiefly address the aspects and arguments that are new, not what was already known.

1998