Biography of pedro s. dandan

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Mga nakatagong kategorya: Lahat ng mga artikulong ulila Articles with hCards Wikipedia:Person date of birth not in Wikidata Wikipedia:Person date of death not in Wikidata. It is not surprising that a lot of Filipino writers use Manila, if not Intramuros, as their seting to bring these problems to our atention. However there are writers today in Philippine literature who take seriously the problems of colonialism in their work.

Pedro s. Most of his stories depict Manila in its early phase of urbanization and thus it is interesting to note how such stories ofer a crucial perspective to the real socio-political problems we are still experiencing today. In the works of dandan, we pose also the question of who we are in relation to this domination and how we can recognize ourselves as agents of transformation in our society.

In this paper, Intramuros is both narrativized as colonial and counter-colonial. This paper aims to discuss two things: irst, to describe Intramuros not as a phenomenology of a place but as surface relations of power and subjects, and second, to ofer a counterdiscourse to colonial power. Intramuros read as surface relations then becomes a discursive site of contestation.

Biography of pedro s. dandan

IntraMuros as a CoLonIaL dIsCourse the historic Intramuros dubbed as the noble and ever loyal city of Spain typiies a spatial discourse that links practices to forms of knowledge. Intramuros is very much within us in terms of how we conduct our everyday political, socio-economic lives both on the micro and macro level. We still see some vestiges of Intramuros practices in the way we exclude people and how we constitute our political agenda.

Hence, Intramuros is a continuing positive present, more of a strategic manipulation than a deviation and less of a symptom than a singular politico-juridical operator. Intramuros was the seat of the spanish colonial government in the 16th and 19th centuries. It was hierarchical because of the division between the residents and the outsiders.

The ambit of power is well deined by the concentric relations of subject within these walls and distance to the church bells, known as bajo las campanas. In fact, the remote outsiders were known as brutus salvajes or brute savages, people without culture and bereft of any dignity. Intramuros clearly demarcated this line of accessibility and provided, architectonically a lifestyle both for the colonizers and the colonized.

It is interesting to note that the dynamics of this relationship reached the level of connivance with the outsiders. Both the insiders and outsiders set up the wall and reinforced this division in their day to day living. In addition, the walls prevented contamination also by regulating the drawbridges and manning the traic low. For Joaquin, the Philippines is the virgin who lost her innocence and splendor with the coming of americans.

Virginity as a trope for colonized lands enhances the logic of domination by characterizing land as uncultivated, undomesticated and thereby demanding foreign intervention in conquering the desolation and penetration by way of fecundating the wilderness. The foreigners are justiied in conquering any lands. We are hailed, using an althusserian term, in this drama and we try to live this out by simply acting as state apparatuses.

Since we cannot atack the colonizers, we then replicate their violence against our own people especially those marginalized by gender, belief and ethnicity. It is stereotypical of our culture to promote elitism at the risk of marginalizing others and no wonder the very few who act as mediums of colonization, tend to overact and bemoan the loss of such colonial heritage.

It is an understatement to say that until now we still experience subjugation in various forms. Competition brought about by capitalism has resulted in our further subjugation not only to neocolonial rule but also to extreme poverty. However, we also see ourselves in the short stories writen by Pedro S. Hence, Intramuros as a lived space becomes a continual process of reclamation.

Its cultural reality is both posited and reclaimed. Our words elude us no mater how we pin down their meanings. Place, like language, is also elusive, such that if Intramuros can be lost, it can also be reclaimed. Litle narratives, like short stories, that deal with the plight of the people living in Intramuros articulate this political unconscious of reclaiming the space denied them.

Both stories writen by Pedro S. Dandan use Intramuros as the seting. May Buhay sa Looban is the story of a young boy, Popoy, who does not want to leave Looban,5 the place of his birth and where his family lives. His father wants to compete in the annual Commonwealth Literary Contest and move to Dampalit. Popoy spurns the idea of moving out because he loves Looban.

But for the father, Looban is unsuited for his work as a writer, and the place threatens their security. Popoy remains adamant. He knows that deep inside he cannot do anything. While waiting for the truck that would carry their loads, Popoy tells his friends and playmates what it means to live in Looban. His friends understand him but Popoy is disappointed that his father, of all people, can never understand his loneliness.

Popoy leaves and joins his family in Dampalit. But unlike any other story, this is more than just the conlict of the boy against his father because the conlict alludes and becomes homologous to the complex struggle in the Filipino psyche. We see the story as part of the grand narrative of the oppressed versus the oppressors. It is only in subjecting this story in such a grand narrative that our understanding of the present condition of Filipinos makes sense and becomes intelligible.

In such cases, Filipinos respond by migrating to other places. He is torn between staying and moving. He postpones decisions of moving on. His ambiguous relation with his own space indicates a psychic split just like the irreconcilable diferences of Popoy and his father in this story. A Filipino is like Popoy, the free-spirited, primeval consciousness, or the Archaic Man.

On the other hand also, he is the father, the logical, rational consciousness, the Civilized Man Jung What we see when the father berates Popoy for his ignorance of literature and the arts, or when Popoy sufers quietly is a symptom of this repression. The violence commited against Popoy is another aspect of this suppression. The father, in fact, condemns the place, ano ang masusulat mo rito … ano!

Maliban sa mga kalapating mababa ang lipad na ari ni Mang Lino, maliban sa dagundong ng mga bola ng boling at bilyar hanggang sa madaling-araw sa palaruan ni Mang Tino, maliban sa mga sabungerong nagkakahig ng kanilang mga tinali sa harapan ng pagupitan ni Mang tote, maliban sa mga kasibulang maghapunang nakatayo sa panulukan sa may tindahan ni Beho … ano nga ang makukuha mong paksa sa mga kapangitang iyan, anong pag-ibig, anong kagandahan … anong buhay?

Dandan 7 [What can you write about this place? In one interview, a resident says Looban may be dirty but it is far from unit to live in. It is noisy but which neighborhood in the city is not? Dampalit is diferent from Looban in the way that it signiies the conlict between two societies. The gap between dampalit and Looban is the gap between the rich and the poor, between the powerful and the oppressed.

The father thinks only of his proits and winning is his only goal. The father indeed belongs to dampalit and is completely estranged from Looban. It is not surprising therefore that the father acts as an agent of this oppressive system. He is, like most of the Filipinos today, interpellated and coopted by the oppressive regime to work for a system that feeds on unfair practice of competition.

It is not unexpected to read the story therefore as an allegory of the oppressors versus the oppressed. It unmasks this unjust biography of pedro s. dandan of our space. As he grows he learns to forget his childhood. The father as a writer is an apparatus of the status quo to disseminate the ruling class ideology. He airms life only in the ruling class.

Unfortunately for the father, he believes that Looban is deprived of any decent life form. Prior to war, Intramuros which was the Looban then was power. Colonials lived in Intramuros, and the natives who worked as their maids and servants lived outside labas or in the surrounding area. After the war, instead of restoring Intramuros, oicials looked for other places.

Erhard Berner accounts for this competition between the cities and municipalities: [I]ts objective being nothing less than centrality itself. In turn, the peripheries of these centers became the Looban. This excess provides the manpower needed to maintain the luid biography of pedro s. dandan of business in the center. This defect in city planning and management was also discussed by glenda M.

Lumakad na ang trak at unti-unting nawala sa likuran ang kanyang mga kapwa bata. Naramdaman ni Popoy sa kanyang pisngi ang pag-agos ng maiinit na butil ng luha, at nalasap ng kanyang bibig. Sa kaunaunahang pagkakataon, sapul nang mamulat siya sa kahalagahan ng kanyang sarili, ay noon lamang siya napaiyak. Dandan [Bye … He tried to look around once again and bid Lina goodbye.

Yet in his innermost sense, he could still see the lonely faces and hand waves. For the irst time, Popoy was not sure of his feelings, until he cried. It reminds them of the home they can never have. We may be helpless and yet we see ourselves capable of articulating the problem. Popoy cries in the end of the story and this moment becomes the symbolic irst step towards rectifying visions.

Siya ay sa Looban at ang Looban ay sa kanya. Looban was famous because of him. He belongs to Looban and Looban belongs to him. Popoy recognizes the Looban just as one should see oneself in relation to the whole. He met his tragic death in About nine decades after his death, the National Historical Institute installed a marker honoring Father Dandan at the St.

Historical Marker at St. Villaroel Fidel. The Dominicans and the Philippine Revolution