The (Mis)Education of the Filipino Writer: The Tiempo Age and Institutionalized Creative Writing in the Philippines

According to Merlie Alunan, the writers Edilberto and Edith Tiempo, founders of the Silliman University National Writers Workshop, have so influenced Philippine literary production that the latter half of the twentieth century and “a few more decades hereafter” can be called “The Tiempo Age.” This e...

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Main Author: Cruz, Conchitina
Format: text
Published: Archīum Ateneo 2024
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Online Access:https://archium.ateneo.edu/kk/vol1/iss28/3
https://archium.ateneo.edu/context/kk/article/2108/viewcontent/_5BKKv00n28_2017_5D_202.1_Article_Cruz.pdf
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Institution: Ateneo De Manila University
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spelling ph-ateneo-arc.kk-21082024-12-20T08:48:02Z The (Mis)Education of the Filipino Writer: The Tiempo Age and Institutionalized Creative Writing in the Philippines Cruz, Conchitina According to Merlie Alunan, the writers Edilberto and Edith Tiempo, founders of the Silliman University National Writers Workshop, have so influenced Philippine literary production that the latter half of the twentieth century and “a few more decades hereafter” can be called “The Tiempo Age.” This essay examines the relationship of aesthetics and politics in institutionalized creative writing in the Philippines by unpacking the politics of the Silliman Workshop’s autonomous aesthetics. It situates the origins, pedagogy, and imagined community of the Silliman Workshop within the network of American colonial education in the Philippines, American cultural diplomacy, and institutionalized creative writing in the United States. It explores how New Criticism, as appropriated by the Iowa Writers’ Workshop-trained Tiempos, conflates the autonomy of the literary text with the autonomy of the literary space in which it is produced. The lack of institutional self-critique authorized by this conflation results in the propagation by the Silliman Workshop of colonialist and classist ideas about language and literary production, which are camouflaged, if not naturalized, as principles and mechanisms integral to the craft of writing. The essay calls on the successors of the Tiempos who currently run the Silliman Workshop to scrutinize the historical contingency of the aesthetic values they inherited and to revise their New Critical pedagogy, which continues to uphold the primacy of English as the language of creative writing education and literary production. 2024-12-20T14:24:15Z text application/pdf https://archium.ateneo.edu/kk/vol1/iss28/3 info:doi/10.13185/1656-152x.2108 https://archium.ateneo.edu/context/kk/article/2108/viewcontent/_5BKKv00n28_2017_5D_202.1_Article_Cruz.pdf Kritika Kultura Archīum Ateneo creative writing pedagogy writing workshops politics of aesthetics cultural diplomacy Philippine writing in English
institution Ateneo De Manila University
building Ateneo De Manila University Library
continent Asia
country Philippines
Philippines
content_provider Ateneo De Manila University Library
collection archium.Ateneo Institutional Repository
topic creative writing pedagogy
writing workshops
politics of aesthetics
cultural diplomacy
Philippine writing in English
spellingShingle creative writing pedagogy
writing workshops
politics of aesthetics
cultural diplomacy
Philippine writing in English
Cruz, Conchitina
The (Mis)Education of the Filipino Writer: The Tiempo Age and Institutionalized Creative Writing in the Philippines
description According to Merlie Alunan, the writers Edilberto and Edith Tiempo, founders of the Silliman University National Writers Workshop, have so influenced Philippine literary production that the latter half of the twentieth century and “a few more decades hereafter” can be called “The Tiempo Age.” This essay examines the relationship of aesthetics and politics in institutionalized creative writing in the Philippines by unpacking the politics of the Silliman Workshop’s autonomous aesthetics. It situates the origins, pedagogy, and imagined community of the Silliman Workshop within the network of American colonial education in the Philippines, American cultural diplomacy, and institutionalized creative writing in the United States. It explores how New Criticism, as appropriated by the Iowa Writers’ Workshop-trained Tiempos, conflates the autonomy of the literary text with the autonomy of the literary space in which it is produced. The lack of institutional self-critique authorized by this conflation results in the propagation by the Silliman Workshop of colonialist and classist ideas about language and literary production, which are camouflaged, if not naturalized, as principles and mechanisms integral to the craft of writing. The essay calls on the successors of the Tiempos who currently run the Silliman Workshop to scrutinize the historical contingency of the aesthetic values they inherited and to revise their New Critical pedagogy, which continues to uphold the primacy of English as the language of creative writing education and literary production.
format text
author Cruz, Conchitina
author_facet Cruz, Conchitina
author_sort Cruz, Conchitina
title The (Mis)Education of the Filipino Writer: The Tiempo Age and Institutionalized Creative Writing in the Philippines
title_short The (Mis)Education of the Filipino Writer: The Tiempo Age and Institutionalized Creative Writing in the Philippines
title_full The (Mis)Education of the Filipino Writer: The Tiempo Age and Institutionalized Creative Writing in the Philippines
title_fullStr The (Mis)Education of the Filipino Writer: The Tiempo Age and Institutionalized Creative Writing in the Philippines
title_full_unstemmed The (Mis)Education of the Filipino Writer: The Tiempo Age and Institutionalized Creative Writing in the Philippines
title_sort (mis)education of the filipino writer: the tiempo age and institutionalized creative writing in the philippines
publisher Archīum Ateneo
publishDate 2024
url https://archium.ateneo.edu/kk/vol1/iss28/3
https://archium.ateneo.edu/context/kk/article/2108/viewcontent/_5BKKv00n28_2017_5D_202.1_Article_Cruz.pdf
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