Alternative Class Days: Paper Art/Paper Sculptures Day 1

Earlier today we had the amazing Liza Flores as our workshop facilitator in one of our Alternative Class Days workshops, Paper Art and Paper Sculptures. She gave a short talk on her art, how she got interested with paper as a medium for her art and showed everyone samples of her works. From visual arts to advertising, Liza Flores has grown tremendously as an artist. What she set out to do illustrating books using paper cutouts and paper art has transformed into paper sculptures used in advertising, installation art and set backgrounds for arts and culture shows.

What truly impressed me about Liza Flores is her love for her art. Her work ethic is admirable. One can be talented and skilled at his or her chosen art or profession, but, it is another thing to show a sincere passion to work with others and to share one's knowledge. I hope that her brand of professionalism rubs off on our high school students who, they may admit this or not, are looking for adult role models to look up to and emulate.

I am still on cloud nine as I write this. Our students made wonderful paper art today. Even our teachers joined in the fun and had their creative juices running!

Here is the art project, which Liza demonstrated to our students.

Begin with the basic: a tree

Add leaves. Be brave to use different kinds of paper!

Experiment. Move the paper around until you get it right.

Liza Flores and I collaborated on a children's picture book, Dear Nanay, which was published in 2014 by Lampara. Read her interview in the blog: Filipino Illustrator Interview: Liza Flores. 

Dear Nanay: How It Came To Be

An article about my creative process in writing Dear Nanay (Gagatiga and Flores, Lampara House, 2013). This article will appear in MirrorsWindowsDoors this month since the website features the Philippines, Philippine diaspora and the Overseas Filipino Worker in Philippine Children's Literature.

Dear Nanay: How It Came To Be

By Zarah C. Gagatiga, on her experience, reflections and creative process writing an OFW story for children.

I was born in Manila in 1974. Two years after the declaration of Martial Law. I grew up an only child until I was twelve years old. Our household was small but my aunts and uncles on both sides of the family lived next door so cousins flitted in and out of the family compound. Nanay* Leony, my maternal grandmother, ran a sari-sari* store that sold everything from safety pins to San Miguel Pale Pilsen. There were also Tagalog comics for rent. I read them after school as part of my recreatory reading list. We had a garden abloom with flowers all year round because Nanay Leony knew what to plant during the dry and the rainy seasons. Her vegetable garden produced root crops, tubers, herbs and spices, and greens that often ended up in a dish on our dinner table. Trees grew in the backyard: coconut, mango, banana, palm, santol,* tamarind, camias* star apple, atis,* to mention a few. 

Everyone knew everybody in the neighbourhood. I played with my cousins and the neighbourhood kids. I walked with them to school. We heard mass on Sundays. On lazy summer days, my cousins and I would take naps in the afternoon. We would wake up to late noon snacks of ginataan,* turon,*porridge, kamote* fries or biko* , especially cooked by our favourite aunts. There were stories and songs to share until it was time to watch Voltes V and Mazinger Z. We were heartbroken when these TV shows were cancelled. We were too young to understand what it meant.

When the rains came, we bathed. When big storms brought in the flood, we waited until the water receded. The nearby creek would swell and this gave us a  reason to launch our homemade paper boats. Water leaked in easily in the paper boats, so we would either swim or catch fish next. We got lucky on some days to bring home Gourami and tilapia. No one dared bring home tadpoles since none of us wished to bear the brunt of our grandmother's wrath. Fishes were alright. Frogs, not so.

I could say I had a happy childhood. My world was safe and secure from the violence and horrors of Martial Law. My parents and the adults in my family tried their best to keep life simple yet abundant with laughter, songs, stories and playtime. They surrounded us with the basics, enough space to move about and the freedom to express oneself, though, controlled at times. But unexpected events in life, big or small, can throw anyone off balance.

Liza Flores' study for Dear Nanay

The Philippine economy collapsed at the onset of the 80s and this prompted my grandfather to work in Saudi Arabia after an early retirement from the Philippine Navy. A year after, my father, who was at the time an esteemed public school teacher, followed suit. My grandfather and my father became Overseas Filipino Workers (OFW).

I wasn't spared from the effects and repercussions of Martial Law at all. At nine years old, I accepted my mother's explanation of the situation. Papa will bring home dollars. Savings for a better future. Never mind the long years apart. Sacrifice today for a better tomorrow. Nanay Leony who was pragmatic and practical, a survivor of World War II, took it all in her stride. But I got a sense of their longing and loneliness. There were nights when my mother cried herself to sleep and Nanay Leony kept singing sad Bicolano songs. It was a confusing time. The Sanrio toys, dolls and cool gadgets from Saudi Arabia did little to justify the empty chairs at the dinner table, especially on birthdays and during Christmas. After two years working abroad, my father decided to go come back home for good. This filled me with joy, but it took me a while to reconnect with my father.

It is this experience of growing up with an OFW parent that is the backdrop of Dear Nanay (Lampara House, 2013). But it was my trip to Singapore in 2002 that was the lynchpin for the poem that became a narrative in verse and eventually, a picture book for children.

My attendance at the 2nd Storytelling Congress in Singapore that year allowed me to meet and interact with Filipinos working away from home and their families. There were professionals working in the IT industry and the Library and Information Science sector. I met teachers and professors, domestic helpers and labourers. I was even mistaken for a household help by the immigration staff when my host from the National Book Development Board of Singapore bade me a tearful farewell at the airport. The immigration staff asked if she was my boss and I, her domestic helper. I said no, she is my friend. The immigration staff gave me a warm knowing smile. I told her the truth, of course, but I knew she had a different context to my answer.

Liza Flores' narrative layering included Nanay's job not mentioned in the original poem.

In the airplane, the economy class was filled with Filipino men and women all noisy and eager to get home. They all carried bags and boxes of pasalubongs*. Many spoke in Tagalog but there were a few chattering in Bisaya and Ilocano. While many of the passengers slept and some quietly talked to each other, I wrote a poem in my notebook about a child missing her OFW mother. A week in Singapore had made me homesick. I missed my husband and two kids terribly and wished they could have joined me on the trip. It was that moment I recalled my own childhood growing up during the last stretch of the Martial Law years. I remembered my father and grandfather, my mother and Nanay Leony and what they had all sacrificed. I was in awe of the courage of the Filipino overseas worker, but saddened by the reality that one of the many reasons why they leave home is  due to the economic and cultural problems caused by twenty years of dictatorship.

Dear Nanay is illustrated by the amazing Liza Flores. Using paper cutouts as her medium, she added visual layers to the story by depicting spreads that show gaps and distance, longing and loneliness, through empty rooms, calendars and time pieces. I did not reveal nor mention Nanay's profession in the narrative verse, but I particularly liked Liza's take on her as a chef. Not all OFWs are domestic helpers. Nonetheless, our book shows the reality children face in light of a parent leaving home to work abroad.

One of my favorite illustrations in the book.

I still grapple with the question of what is more important for a parent to do: to provide for his or her children’s needs by working abroad or to stay with the family and endure the economic and political hardships, as well as the social injustices of living in a developing country like the Philippines. I console myself with the thought that, despite this reality, there are still opportunities for Filipino writers and illustrators to tell stories and that there are people in the Philippine book industry brave enough to create and publish stories for children depicting the plight of the Overseas Filipino Worker.

Glossary
atis - sweet sop, custard apple 
biko - rice cake 
camias - tree cucumber
ginataan - food cooked with coconut milk, like porridge or sweetened stew of tropical fruits, sticky rice and gluten
kamote - sweet potato
nanay - mother
pasalubong - homecoming treat
santol - wild mangosteen
sari-sari store - convenience store
turon - banana fritter

Alternative Class Days: Paper Art / Paper Sculptures Day 2

Ms. Liza Flores, guest facilitator

Our Alternative Class Days in school ended last Friday on a high note. What Liza Flores, our guest workshop facilitator, started with us on Day 1 we continued on the second day.

I set up the workshop space early that Friday morning. There was an area for materials and supplies, an area for reflection, a work area and a display area. There were fourteen students in the workshop and seven of them came in early. At 7.45 AM, they were all in their work table cutting, pasting, mounting and quietly creating to their hearts' desires. With the help of my co-teachers, we guided all fourteen of our students in finishing their paper art projects. Well, there was very little supervision from us. They seemed to have taken the input session of Liza like fish to water. 

Our Griffins produced paper art on interesting themes. Some picked their favorite games and leisure activities, a cartoon character, a few played around with colors. One of them did a 3D model of a train. There was a student who made a notebook and designed a paper art on the cover. One senior made paper flowers which he put in a paper cup. It's amazing how one student stepped up to challenge of making a pop-up paper art and a Beacon Academy inspired art work. Many chose to work individually, but there were a few who paired and worked together. 

Some works on display at the school lobby

Before ending the day with the exhibit of works, we asked the students to write their reflections. This will help us decide where to go further with paper art / paper sculptures. For one, I am thinking of setting aside 45 minutes of paper art sessions in the library. If there is one thing we discovered with the ACD on Paper Art, it is a good stress reliever! 

Since I played the role of mother hen on Day 1, I didn't get to do the art exercises which Liza conducted for the group. So, I made sure to do at least two paper art projects of my own. I couldn't decide what to do at first. Flowers and leaves are the easiest to do, but my love for books won over. I looked for patterns of the White Tree of Gondor, the lamp post in Narnia and images of my favorite characters in Spirited Away. After selecting images, I went to work.

The White Tree of Gondor

The tree of Gondor was so intricate, it took me two hours to finish the piece. But boy, oh boy! I felt so good afterwards. Then I moved on to make soot sprites. My homage to Hayao Miyazaki. The lamp post in Narnia was shelved for another time. I had to give instructions to students as they prepared for the exhibit of works at 2PM. Together, we set up the paper art exhibit.

At the end of the day, we all felt accomplished. All of us were simply happy creating art with friends and colleagues during the two days Alternative Class Days (ACD) in the academy.

Here is the link to my blog post on ACD Paper Art / Paper Sculptures Day 1.

Experiencing Magic: Introduction & Research Question-Methodology

Introduction

The 25 Best-Loved Children’s Book Characters
During the celebration of National Children’s Book Day (NCBD) on July 21, 2008 in the
Cultural Center of the Philippines (CCP), the Philippine Board on Books for Young People (PBBY), after surveying hundreds of public school children all over the country (with the significant help of Sa Aklat Sisikat Foundation), unveiled the 25 Best-Loved Children’s Book Characters Exhibit by Ang Ilustrador ng Kabataan (Ang InK). NCBD is celebrated every third Tuesday of July in commemoration of a little known fact: the publication of Jose Rizal’s retelling and illustration of “The Monkey and the Turtle” in Trubner’s Oriental Record in 1889. The PBBY is an organization committed to the development of children’s literature in the Philippines. It is composed of permanent and institutional members (The National Library, the Cultural Center of the Philippines, and Museo Pambata) and individual members representing educators, researchers, librarians, book reviewers, writers, illustrators, storytellers, publishers, book sellers, media practitioners, and reading advocates. Ang InK is an association of artists committed not only to the creation and promotion of illustrations for children but also the professionalization and development thereof. Sa Aklat Sisikat (SAS) is a non-profit organization that promotes the love and habit of reading among Filipino children.

The subjects of this popular life-size rubber sculpture exhibit and the books they come from are the following:
1. Chenelyn (“Chenelyn! Chenelyn!” written by Rhandee Garlitos, illustrated by Liza Flores, and published by Adarna)
2. Pilo (“Si Pilong Patago-tago” written by Kristine Canon, illustrated by Leo Alvarado, and published by Adarna)
3. Filemon (“Filemon Mamon” written by Christine Bellen, illustrated by Jason Moss, and published by Adarna)
4. Juan (“Juan Tamad” retold by Rene Villanueva, illustrated by Jo Ann Bereber, and published by Lampara)
5. Raquel (“Ang Pambihirang Buhok ni Raquel” written by Luis Gatmaitan, illustrated by Beth Parrocha-Doctolero, and published by Adarna)
6. Pilandok (“Pilandok” series of folktales retold by Rene Villanueva, illustrated by Kora Albano, and published by Adarna)
7. Pagong at Matsing (“Si Pagong at si Matsing” retold by Danilo Consumido, illustrated by Hubert Fucio, and published by Adarna)
8. Peles (“Ang Kamatis ni Peles” written by Alberta Angeles, illustrated by Renato Gamos, and published by Adarna)
9. Langgam at Tipaklong (“Si Langgam at si Tipaklong” retold by Alberta Angeles, illustrated by Renato Gamos, and published by Adarna)
10. Onyok (“Ang Mahiyaing Manok” written by Rebecca Anonuevo, illustrated by Ruben de Jesus, and published by Adarna)
11. Rosamistica (“Rosamistica” retold by Christine Bellen, illustrated by Liza Flores, and published by Anvil)
12. Kas (“Ang Barumbadong Bus” written by Rene Villanueva, illustrated by Jo Ann Bereber, and published by Adarna)
13. Emang Engkantada at ang Tatlong Haragan (“Si Emang Engkantada at ang Tatlong Haragan” written by Rene Villanueva, illustrated by Alfonso Onate and Wilfredo Pollarco, and published by Adarna)
14. Pandakotyong (“Si Pandakotyong” retold by Christine Bellen, illustrated by Albert Gamos, and published by Anvil),
15. Mariang Alimango (“Si Mariang Alimango” retold by Tomas Lacson, illustrated by Onie Millare, and published by Adarna)
16. Ampalaya (“Alamat ng Ampalaya” written by Augie Rivera, illustrated by Kora Albano, and published by Adarna)
17. Mariang Sinukuan (“Ang Hukuman ni Sinukuan” retold by Rene Villanueva, illustrated by Mitzi Villavecer, and published by Adarna)
18. Og (“Og Uhog” written by Christine Bellen, illustrated by Jason Moss, and published by Lampara)
19. Lola (“Ang Pambihirang Buhok ni Lola” written by Rene Villanueva, illustrated by Ibarra Crisostomo, and published by Adarna)
20. Tiktaktok at Pikpakbum (“Tiktaktok at Pikpakbum” written by Rene Villanueva, illustrated by Renato Gamos, and published by Adarna)
21. Ibong Adarna (“Ibong Adarna” retold by Roberto Alonzo, Jordan Santos, and published by Adarna)
22. Carancal (“Carancal” series of folktales retold by Rene Villanueva, illustrated by Kora Albano, and published by Lampara)
23. Butsiki (“Ang Unang Baboy sa Langit” written by Rene Villanueva, illustrated by Ibarra Crisostomo, and published by Cacho)
24. Duwende (“Ang Parusa ng Duwende” retold by Christine Bellen, illustrated by Elbert Or, and published by Anvil)
25. Teo (“Oh, Mateo” series written by Grace Chong, illustrated by Beth Parrocha-Doctolero, and published by OMF-Hiyas).

Research Question and Methodology

In view of the aforementioned, this paper focuses on this question: Why do Filipino children love these characters? To answer the question, this paper makes a content analysis of the stories using a psycho-educational framework.

PBBY's New Representative for Illustrators is Ms. Liza Flores

Last July 18, 2023, the Philippine Board on Books for Young People sworn in Ms. Liza Flores as board member and representative for the sector of illustrators. She has once again, lent her time for the blog and its readers for this interview.

1. As PBBY Rep for Illustrators, what can you bring to the table that will further enhance the growth of children’s book illustration in the country?

Ang INK is what I bring to the table, along with the learnings from Ang INK’s founding members, and the experience of working with INKies of different generations.

As PBBY Rep, I hope to do more of what I have been doing with Ang INK, but with a wider reach, and closer collaboration with other sectors in the industry:

• showcase the works of illustrators 

• uplift the quality of illustrations for children

• articulate and protect the rights of illustrators

• define and promote professionalism among illustrators

2. How would you describe ANG INK in this era of AI, climate change, multiverse storylines and metacognition?

While primarily known as illustrators for children, Ang INK has claimed a place as an organization of illustrators in general. 

Ang INK therefore, has the responsibility and opportunity to address issues that affect young people (like climate change), and new technologies that have an impact on illustrators (like AI).

But this is nothing new to Ang INK. 

Through its exhibitions, books, and other projects, Ang INK has always focused on the various aspects of Filipino life, while promoting certain advocacies that are significant to the Filipino child. We have tackled matters concerning children’s rights, the pandemic, environmental conservation and protection, the promotion of literacy, awareness of and appreciation for Philippine culture, and so on.

The issues and the environment today may have changed—perhaps more challenging—but Ang INK’s charge is the same.

3. What are your top 5 book recommendations to readers of children’s books?

Sayaw ng mga Kamaymag Kamay, Joanna Que at Fran Alvarez / Dancing Hands, Charina Marquez (English translation)

Papuntang Community Pantry, Eugene Evasco at lAdy Aguirre

Pagkatapos ng Unos, Harry Monzon 

Mang Andoy’s Signs, Mailin Paterno and Isabel Roxas

Hati Tayo!, Russell Molina at Dominic Agsaway 

Pinoy Illustrator Interview: Liza Flores

Liza Flores, illustrator and former President of Ang INK, answers questions about her creative process and the challenge of illustrating Dear Nanay, our book which was published by Lampara Books (2014).

a. What attracted you to use paper when illustrating a book for children?

I have always loved paper! As far as I can remember, whenever I'm at National Bookstore, or any store that has paper, I'd be looking at the store's paper selection (whole sheets, cut sheets, gift wrappers, notebooks), even if I had no real use for it. In a trip to the US, I bought Manila paper, just because their Manila paper had a nice thickness, and was in a nice yellowish-crafty color. 

I think the idea of using paper was planted in my head when I got a set of Japanese bookmarks when I was around 10 years old. 

Then I discovered I was pretty good with scissors. 

b. How different is this medium to, say, water color or digital media as far as rendition is concerned?

When I use paint or colored pencils, I have to have a very clean and detailed drawing of the whole book before I can color. (1) I start by making small thumbnail studies. (2) Then, I draw all the pages again, but this time bigger, a little bigger than the book's size. I use regular bond paper and a pencil when I do this. (3) With A light box, I trace my drawings on to the actual paper board I'll be using. (4) Finally, I color my line drawings.

With paper cutouts, I can jump from rough thumbnail studies straight to cutting. I don't draw on the paper I cut. I just imagine the shapes I need, like a circle for a head of a character, then I cut. Almost any object can be simplified into simple, basic shapes. So I would cut one piece or element at a time, move things around to see what works, and build each character, scene, and page as I go along. Then, I glue the parts when I'm happy with what I have.

c. What was your approach to Dear Nanay? The story is pretty sad, but you made it appear light and cheerful.

I remember Beth Parrocha saying that whenever she got a sad story, the more she wants to make the illustrations happy. That's how I felt after reading the manuscript. 

Also, how the story was written was already easy to understand. So I figured there was room for the illustrations to be less literal. I could illustrate sending a letter via snail mail, or via email, but why not via paper airplanes? 

d. Is being an artist/illustrator your first choice of career? If not, what made you become one? If it is, what keeps you in it?

I couldn't decide what course to take when I was applying for college. I knew I liked art, and maybe something communication-related, but that was it. So I ended up choosing Visual Communication (Fine Arts), not really knowing what I'd be when I graduate. 

It never occurred to me that being an illustrator was a career until I saw INK's exhibit whan I was in college. In fact, it's funny that it never occurred to me that real people made the drawings in my favorite books. And when I saw the illustrations of Robert Alejandro, Mel Silvestre, Joanne de Leon, Beth Parrocha, I thought, hey, I'd like to do that too!

I enjoy the process of making a book. I like imagining the story and making it "real". I learn something new every time: about the materials I use, about what I am capable of, about how to tell a story better. Then, there's the happy bonus of seeing my work printed, and being enjoyed by the one reading it.

The Picture Book as an Art Form

During the press launch of Room to Read's Kuwentong Musmos at the Museo Pambata, someone from DepEd raised a concern regarding "unrealistic" drawings in children's books and if this is appropriate for children. The host of the launch, Robert Alejandro, called on Liza Flores to answer the question. 

I remember Liza saying that she keeps in mind the audience she is illustrating for, in this case, the children who will read the books. It is innate in children to imagine, to play and to wonder. Unrealistic drawings are therefore allowed in children's books. 

A few days after, on Facebook -- because everyone involved in the project was still in cloud nine, Liza replied to Joanna Nicolas-Na's photo of her where she was replying to Madame DepEd's question.  This was her reply:

May mga akda na mahalaga maging acurate at realistic ang pag guhit. Pero hindi mali ang hindi realistic na drawing. May mga kuwento na binabagayan ng ibang estilo. Minsan mas epektibo nitong naikukuwento ang kuwento. Mahalaga din ma-expose ang mga bata sa iba't ibang klaseng guhit o art. This is how they discover what they like and don't like, and develop their own taste.  

There are works that need accurate and realistic drawings and interpretations. But it is not wrong to make unrealistic drawings. There are stories that need to be drawn and rendered using a style of art that is different from the conventional. Most often, this is more effective in the visual storytelling or narrative flow. It is also important for children to be exposed to different art forms (through books).  This is how they discover what they like and don't like, and develop their own taste.  

Many replied to her. It made for an interesting discussion. 

This is my take. A picture book is an art form. As a form of art, it follows a function. The purpose of a picture book is for children to enjoy it. For aesthetics. For beauty. For all that is good in this world. For a child who cannot visit a museum or an art gallery, the picture book is an art experience. And sometimes, a picture book can be more than a gallery or a room full of paintings. As Eric Ode said in his essay, Why Picture Books Are Important "Picture book illustration styles run the gamut, representing as much diversity as the art found in any national gallery or museum. But whether elaborately detailed and richly colored or spare with a bare-bones pallet, a picture book’s illustrations want to be explored and enjoyed up-close and with others. They are waiting to be pored over, puzzled over, and pointed at, page turn by page turn."

So, as an author, I like it that Tere, our character in Masaya Maging Ako has yellow skin. It is the happy kind of yellow, like sunlight in the early morning. I do not mind at all if her limbs and legs are long and curving. She loves movement and the long and curved lines suggest grace. I love the purplish mauve color of our book's cover because this implies power and daring. Tere is a kid who was bullied. It was the quiet and sneaky kind of verbal bullying. Jamie Bauza's illustrations explicitly showed that aspect of bullying through size, shape and color. Furthermore, she allowed Tere to shine in her own unique way.

See what unrealistic drawings can do?

Now, I wonder what kids will say or how kids will respond to our book. That is another story!

Book Launch Earth Tales: Three Ecofables For Children

March 8 is International Women’s Day (IWD). In some countries like China, Russia and Kazahkstan, IWD is an official holiday. Tradition has it that mothers, grandmothers, wives, sisters, daughters, female friends and colleagues would get flowers and small gifts of appreciation from the men in their lives. In different parts of the world, IWD is celebrated to honor the contributions of women in the family and in society at large.

In the Philippines, the Center for Arts New Ventures And Sustainable Development (CANVAS) partnered with the Ten Outstanding Women of the Nation for Service (TOWNS) Foundation to drum up this special day for women through the launching of a children’s book of ecofables. As the term implies, the fables carry themes on ecology, nature and care for the environment.

Realizing The Vision

Since its initial foray in the children’s book industry four years ago, CANVAS has remained true to its vision and mission of providing avenues for the Filipino artist to grow and develop. It continues to put together an assembly of luminaries in the literati and in the visual arts arena for a worthy cause. This time around, its beneficiary is the TOWNS Foundation who, for the last 30 years, has recognized achievements and accomplishments of Filipino women in various fields of discipline.

That is why, last Sunday, March 8, 2009 at 3:00 pm, TOWNS awardees were present at 1/of Gallery in Serendra, Taguig City for the launching of the book Earth Tales: Three Ecofables for Children. To name a few, publisher Karina Bolasco, educator Dina Ocampo, geologist Alyssa Peleo-Alampay, and Filipino-Chinese advocate Teresita Ang See attended the event. More than a fund raising activity, the afternoon was an amalgamation of literary, performing and visual arts gems for the young and the young at heart.

While the gallery had the paintings of the book’s illustrators for interested clients and the culturati, Hazelle Preclaro-Ontengco, Executive Director of Wordlab School Manila, provided storytelling sessions to the kids who came. The competent teacher that she is, she was well prepared with props, visual aids and, a song and dance ensemble. TOWNS President, Atty. Lorna Kapunan came fashionably late but redeemed herself by sharing words of wisdom to the older set of audience. She harped on the importance of reading books. She added that the learning experiences of childhood are carried on until adulthood. Gigo Alampay, CANVAS head honcho, thanked everyone who came and supported the collaborative project with TOWNS Foundation.

Wonder Women

Published by UST Press, the book Earth Tales: Three Ecofables for Children, gathers two fables from traditional folk literature and one original fable by Canadian scientist Paul Leet Aird. All three stories speak of the relevance in keeping nature’s gifts and treasures in a balance. Told simply and succinctly, all three fables are timeless. It appeals to readers of all ages. But what make the book extra special are the illustrations done by three fantastic Filipino women artists that the country has today.

Plet Bolipata, Liza Flores and Ivee Olivares-Mellor lent their artistic interpretations to the ecofables. The result was a visual delight that extended the narrative flow of the stories into powerful and lasting images.

The first fable, The Hummingbird, traces its origins from a Japanese folklore. It tells of the thumb-size bird’s effort to douse a forest fire using its small beak by fetching water from the river. All the animals fled for their lives save for the tiny hummingbird that did what it can to put out a raging fire destroying their home. Bolipata’s collage and digital art magnified the heroics of the little one. The last illustration for the story unfolds with a woman, the storyteller, whose yellow kimono contains the whole story of the little bird in silk tapestry. For Bolipata, the journey into illustrating the ecofable had been most challenging since her paintings were stand alone pieces and do not follow the structure of a story grammar. But she succeeded because her vivid colors and inventive style are a wonder to the eyes.

Flores, on the other hand, is a seasoned illustrator for children and former Ang Illustrador Ng Kabataan (INK) president. She found the whole project a liberating experience. Working on the illustrations of The Star Thrower did not confine her to any agenda except her own. As it often happens to author-illustrator collaborations in children’s book production, the author has his or her own viewpoints and messages to put across. In such a partnership, the illustrator is a conduit to communicate whatever purpose the story has.

For this endeavor, it allowed her the artistic freedom to visually interpret the story. Her star thrower, a little girl in red summer dress seem to dance by the sea shore as she throws each starfish back to the sea. The peaceful blue of sky and sea agreed with the quiet and neutral creamy yellow of the sand. The whole effect is sentimental but pleasantly playful. It evokes joyful memories of trips to the beach with family and friends many summers ago.

The last fable, The King and the Forest, an original by Aird was illustrated by the UK based Mellor. Her circles gave characterization to the south wind that frightened the King to his downfall. By using spheres and elliptical shapes, she has shown the relationship of the elements of air, land and water with humanity. Aird invites us to examine our fears as we relate to the living and breathing creatures around us while Mellor presents patterns of life cycles in her bright and intense colors of red, yellow, orange, blue, green and purple.

This book of ecofables is labeled for children to read and enjoy. Above all else, it attempts to reach out and make art accessible to young people. CANVAS has been successful so far. Here’s looking forward to its next literary and visual feast for the young reader and their reading guardians.

Masaya Maging Ako! Masaya Maging Tayo!

Finally! 

Na-launch na rin ang Masaya Maging Ako, ang aming aklat pambata ni Jamie Bauza. Ito ay binuo, nilikha at ginawang espesyal na handog para sa mga bata na walang aklatan at salat sa babasahing akma sa kanilang kultura at konteksto. Kasama namin sa proseso ng paglikha ng aklat ang mga bumubuo sa komunidad ng Panitikang Pambata ng Pilipinas. Mula sa Ang Illustrador ng Kabataan, kasama ang apat na publishers ng mga aklat pambata, Adarna House, Lampara Books, Hiyas-OMF at Anvil Publishing hangang sa staff ng Room to Read, nagsanib puwersa ang lahat upang makapaglimbag ng 20 aklat sa ilalim ng Kuwentong Musmos Book Project ng Room to Read. Ang paglulunsad ay ginanap sa Museo Pambata noong Huwebes, February 27, 2020.

Congratulations sa lahat! 

It was a joyous occasion to witness the culmination of four months of hard work and genuine camaraderie among Filipino authors, illustrators, publishers, Adarna House staff and Room to Read. Kudos to Sir Al Santos of Room to Read for leading the project, to Liza Flores and Robert Alejandro for the mentorship, to my publisher, Jun Matias of Lampara Books. I appreciated working with Team Lampara in Bohol and with Jamie and Aiko over chat and phone call from Baguio. We have created and published a book, but there is a community who helped make it a dream come true!

How true is the quote I heard from a friend in PBBY, ”a book is a dream, dreamed by a team”. To have experienced this dream making and team building is something I will be grateful for the rest of my life. 

Masaya Maging Ako! Masaya Maging Tayo!

Art, Books and Wonder Women

When I received Kora Dandan Albano's email inviting me as guest to the ribbon cutting of Peek-A-Book: Inside the Creative Process of 16 Illustrators at the Ayala Museum, I was humbled. It came at a time when I am losing sight of my contribution, little as it is, to the book industry. I needed the reminder that there are worlds beyond Beacon Academy. One of them is a place where I find my people and where I can simply be.

With Bernadette Solina Wolf, illustrator of Sparrow Makes a Home

It was an honor to cut the ribbon alongside wonder women, Neni Sta. Romana Cruz, Nina Yuson, Mary Ann Ordinario, Asa Montejo, Yna Reyes and Meg Roxas. Liza Flores, one of the proponents of the Peek-A-Book exhibit downplayed the gender issue in Philippine Art and Book Illustration and focused more on art above all else. But, National Book Development Board Chairperson, Neni Sta. Roman Cruz had to emphasize the role women play in the development of the arts in general and in the growth of the book industry in particular. It is important to raise art as the overarching concept or the philosophy that led us all together in that gathering. It is also necessary to constantly recognize the special place that women occupy in the process of creation.

That same evening was the book launch of Bone Talk. Anvil put together a nice little space at the National Bookstore Glorietta for Candy Gourlay, author of Bone Talk, for a talk and book signing. Right after the ribbon cutting, viewing of exhibit and chats with friends in Ayala Museum, Zoe and I (yes, the aspiring artists was with me) headed off to Candy's launch.

We missed her talk but, I had my book signed!

What a wonderful way to celebrate International Women's Month! I have to add that the Philippine Board on Books for Young People has just released the official announcement on the winner of the 2019 PBBY-Salanga Prize.. It is another victory of the Filipino woman and the women who support her.

empowerEd Live: Breathing Life Into Texts: Developing Effective Text-Based Learning Resources for Distance Learning

Once again, I had the pleasure of guesting in Francis Jim Tuscano's empowerED LIVE last Saturday, July 4, 2020. This episode is in part an opening salvo to the celebration of National Children's Book Day (NCBD) 2020. Many thanks to Jim Tuscano for this partnership made possible with the Philippine Board on Books for Young People (PBBY). I along with Mr. Eric Perez of the Reading Association of the Philippines (RAP) and Ms. Liza Flores of Ang Illustrador ng Kabataan (Ang INK) had an interesting discussion on the development of text based learning materials as hosted and facilitated by Jim Tuscano himself. 

If you missed the live telecast over at Facebook or YouTube yesterday, you can still view it through these links:

YouTube: https://www.youtube.com/empowerEDTV

Facebook: https://www.facebook.com/empowerEDwithJimTuscano/

Previous to the live telecast, I made some notes. Posting them here in the blog since the discussion online covered a variety of topics and concerns. My notes focus on the writing of content and texts.

1. Texts can be expository, factual or informational and fiction. Each is written in a different way, approach and tone. What ever form of text or literature you are writing, researching on topics you are writing about is important. Research is part of pre-writing. Having said this, the writing of texts, stories and literature involves a process.

There are four basic steps in writing namely, pre-writing, writing the draft, revision and editing, and publishing and sharing. This means, you can schedule your writing of text based learning materials and that, you need a reader to give you feedback on your work. From there, you can revise, make changes and edit your materials. In some cases, a kid-test is called for, especially if the material developed consists of complex steps. In my experience as a children's writer, the Mother Tongue Based learning materials we published in 2017 proved valuable to students in Cebu, Iloilo and Bacolod because our writing team got feedback from the teachers based in those provinces and comments from selected students in the selected schools.

Now here is a caveat. In writing, as a general principle, nothing is craved in stone. Texts and literary pieces all undergo changes, revisions and improvements as dictated by needs and developments of readers and communities who engage with the materials.

2. Know what form of text or genre of literature you are writing. It is helpful that you read samples and exemplars of the text and the literature you want to write. You can do your own searching and documentation but asking for help and seeking assistance from allies in the profession lessens the burden. Besides, writing is not done in isolation.

3. Of primary importance in the effective use of learning materials is the child reader or the learner who will encounter and engage in the text and its contents. Know who you are writing for. The child reader's developmental stages is at the front, back and center of the creation of the module or the learning material. Pedagogy and curriculum, as well as principles in the discipline of educational technology all come into play. In the midst of it all is the child or the learner.

4. Work closely with the illustrator, designer, technology specialist and editor of the learning materials. The logistics and operational work flows can be set early on but a shared vision binds the team together. Collaboration is key.

5. Observe academic honesty. For this topic, I will have another blog post that will tackle issues in plagiarism, intellectual property and copyright. These are all for now. Do visit the blog for updates on topics we care about, school librarianship, children's literature, reading and literacy, teaching and learning and even the simplest act of creation and reflection. Happy National Children's Book Day!