Week 1: January 31 | Historical Perspectives/IntroductionsView/read/discuss in class: 1.
Johanna Poethig, “Lakas Sambayanan” (alternate view here) and “Ang Lipi ni Lapu Lapu” (public art projects, murals). 2.
Barbara Jane Reyes, “History Is Written On The Walls,” from Bay Poetics. Stephanie Young, Ed. Newton, MA: Faux Press, 2006 (essay). 3.
Marlon Fuentes, Bontoc Eulogy (video/DVD).
| Saturday 02/02/2013: Off-Campus Event Option #1: “In Transit” Art Exhibit at I-Hotel Manilatown Center, 868 Kearny Street, SF, 3-6 pm. http://manilatown.org/
| Week 2: February 07 | Work and Class 1.
Bienvenido Santos, “Immigration Blues” (short fiction). 2.
Carlos Bulosan, poetry, essays, and short stories from The Laughter of My Father and On Becoming Filipino. 3.
Proletariat Bronze, “Anthem” (video/YouTube). 4.
Evangeline Canonizado Buell, “Grandma as Rosie the Riveter” (non-fiction prose). 5.
Rashaan Alexis Meneses, “Barbie’s Gotta Work” (non-fiction prose). 6.
Tony Robles, “Son of a Janitor” (short story). 7.
Al Robles, selections from Rappin' with Ten Thousand Carabaos in the Dark (poems).Journal: 1.
How may this African American music genre known as The Blues relate to Filipino American experience? How is Santos’s story a Blues narrative; what makes Santos’s story a Blues narrative? To what other Filipino American narratives may the Blues apply? How/why? 2.
In Bulosan’s “I Am Not a Laughing Man,” why is he so angry? What specific things is he angry about/at? Do you think his anger is justified? Why/why not? Explain the significance of laughter in his “The Laughter of My Father.” What is Bulosan’s position on socioeconomic class, and wealth? 3.
What are your thoughts on Bulosan’s “The Writer As Worker”? What is his argument, and do you agree with it? Why/why not? In this essay he writes, “A writer should be political also.” What does he mean by this? Do you agree with him? Which narratives from this week’s readings fit...
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