Literature After The EDSA Revolution PDF

LITERATURE AFTER THE EDSA REVOLUTION 1896 EDSA REVOLUTION The year 1986 demarcates the beginning of new scene in the unfolding narrative of contemporary Philippine Literature. – It saw the fall of the dictatorship that President Marcos set up on September 21, 1972, when he placed the Philip...

LITERATURE AFTER THE EDSA REVOLUTION 1896 EDSA REVOLUTION The year 1986 demarcates the beginning of new scene in the unfolding narrative of contemporary Philippine Literature. – It saw the fall of the dictatorship that President Marcos set up on September 21, 1972, when he placed the Philippines under martial rule, initiating a regime that did not only suppress the writers’ right to free expression but also created conditions that made collaboration and cooptation convenient choices for artists struggling for recognition and survival. WRITING UNDER THE MARTIAL LAW The Martial Law Regime was characterized by militancy and belligerence, even when it showed up in the legal press. Especially after the assassination of Ninoy Aquino in 1983, the temper of poetry and theatre derived much of its heat and direction from the political culture of the underground national democratic movement. When the enemy were overthrown in 1986, the literary activity showed a certain disorientation manifesting itself in a proliferation of concerns taken up by individual writers and groups. POST-EDSA Creative Writing Centers Academic institutions where Creative Writing is a part of the curricular offerings. Writers’ organizations that periodically sponsor symposia on writer and/or set up workshops for its members and other interested parties. Through these centers that writers get to hear about new developments in writing, and derive enthusiasm for their crafts. WRITERS’ ORGANIZATION UMPIL (Unyon ng mga Manunulat ng Pilipino) PANULAT (Pambansang Unyon ng mga Manunulat) Panday Lipi GAT (Galian sa Arte) LIRA (Linangan sa Imahe, Retorika at Anyo) GUMIL (Gunglo Dagiti Manunurat nga Ilokano) LUDABI (Lubas sa Dagang Bisaya) PEN ( Pen, Essay and Novel)  La Tondeña, sponsors of the venerable Carlos Palanca Memorial Awards in Literature, has made the name “Palanca” a synonym for quality literary works in both English and Filipino. The National Commission for Culture and the Arts (NCAA) was created by law in 1992. It has a Committee on Literary Arts which funds workshops, conferences, publications and a variety of projects geared towards the production of a “national literature”. The committee has the aim of developing writing that is multi-lingual, multi-cultural, and truly national.  Non-governmental organizations have helped hand in hand with some institutions in giving recognition to writers from specific sectors in the society. These NGO's includes the Amado V. Hernandez Foundation; the GAPAS foundation, and the KAIBIGAN. Campus publications are another group of outlet that is of importance as a source of non-traditional, experimental writing. These campus publications could either be a weekly student newspapers, quarterly magazines, or annual literary journals. CHARACTERISTIC OF POST-EDSA LITERATURE 1. There is in the academe an emerging critical orientation that draws its concerns and insights from literary theorizing current in England and the United States 2. Post-EDSA publishing has been marked by adventurousness, a willingness to gamble on "non-traditional" projects. 3. The declining prestige of the New Criticism, whose rigorous aesthetic norms has previously functioned as a Procrustean bed on which Filipino authors and their works were measured, has opened a gap in the critical evaluation of literary works. 4. The fourth and final characteristic of post-EDSA writing is the development thrust towards the retrieval and the recuperation of writing in Philippine languages other than Tagalog.