GAMABA and NAA Recipients

Eleventh Entry




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Reflection on the "Sikalak ug Sikabay" Play

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Sixth Entry After successfully conducting a play about the creation story of "Si Sikalak ug Sikabay", it is only natural that the class be required to make a short reflection regarding the play that transpired and to the story itself.  Here are the individual outputs of the members: Karla Jean Booc Ramon Hope Celiz Kent Defuntorum Reycil Jumawan Ma. Lourdes Manus Sean Michael Tagsip Kerr Patalinghug Rinelle Frances Pogoy
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Intertextuality of two Visayan Creation Myths

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Eighth Entry Intertextuality, by definition, is the shaping of a text's meaning by another text. It is the interconnection between similar or related works of literature that reflect and influence an audience's interpretation of the text. It is common knowledge that there are numerous versions of creation stories that are being told around the country. Two, in particular, are from the Visayas, namely- Si Sikalak ug si Sikabay and the story of Tungkung-langit and Alunsina. As an assignment, each student must create an intertextuality among the two Visayan Folktales aforementioned. The following are the individual outputs of the members: Karla Jean Booc Ramon Hope Celiz Kent Defuntorum Reycil Jumawan Ma. Lourdes Manus Kerr Patalinghug Rinelle Frances Pogoy
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Contemporary Arts: First Task

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First Entry As early as the first week of the second semester, STEM- Mendeleev have already received the first task to accomplish i n the subject Contemporary Arts from the Philippine Regions.   The first task is to interpret and to visualize the myth of the Visayan Island's origins through a performance which includes acting, music, dancing, and props. This performance would be in preparation for the upcoming grand performance before the end of the semester. First scene: Introductory dance Setting up the mood for the legend of Sikalak and Sikabay by dancing with tribal and ethnic gestures. Portraying the Earth and the wonders around it  as a centerpiece for our presentation. Choreography and placement of dancers are all for the sole purpose to give emphasis to the characters of the story. A transition from one formation to another. Scene 2: Courtship of  Kaptan  choreography a...
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