Tag Archives: prizes

Qwertyman No. 68: What We Aspire For

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Qwertyman for Monday, November 20, 2023

IT WAS a humbling but also uplifting experience to attend the 65th Ramon Magsaysay Awards ceremonies last November 11 at the Metropolitan Theater, in which four new awardees—including Filipino peace negotiator Miriam Coronel-Ferrer—were honored for their contributions to humanity. Long considered Asia’s version of the Nobel Prize and certainly its most prestigious honor, the RMA has now gone to over 300 recipients from all over the world in the fields of government service, public service, community leadership, journalism, literature, and creative communication arts, peace and international understanding, and emergent leadership.

This year’s four laureates represent a wide range of endeavors.

Miriam Coronel-Ferrer (Philippines) exemplified and championed the role of women in peacemaking, leading the negotiations with the Moro Islamic Liberation Front that led to a Comprehensive Agreement on the Bangsamoro. She has since lent her skills and wisdom to peacemaking efforts in East Timor, Cambodia, Afghanistan, Kosovo, and Iraq, among other conflict zones.

Eugenio Lemos (Timor-Leste) mobilized young Timorese to adopt permaculture, a holistic system to create and manage sustainable agrosystems. His approach and methods have been adopted by Timor-Leste’s schools and local governments. Going beyond food security, Lemos emphasizes the need for “food sovereignty,” a country’s ability to produce its own food, with a focus on local, natural, and nutritious food. 

Ravi Kannan (India) set up the Cachar Cancer Hospital and Research Center in one of India’s most remote and poorest regions to bring cancer care to those who could least afford it. Dr. Kannan resolved not just to create a state-of-the-art facility, but also to make it accessible to the poor by offering free treatment, room and board, temporary employment for caregivers, and a homecare program for patients. 

Korvi Rakshand (Bangladesh) began by helping poor Bangladeshi children learn English so they could find gainful employment. His JAAGO Foundation has since expanded to provide free English-language primary and secondary education to 30,000 students in both traditional and online schools, as well as embracing other causes such as women empowerment, children’s rights, and climate change.

One thing stood out in all of these awardees—and, indeed, in those who preceded them as RM laureates. It wasn’t about them. Their backgrounds, their education, their previous honors and awards were hardly even mentioned—and when they were, it was only to suggest that Dr. Kannan could have chosen to pursue a lucrative career as an oncologist in Chennai, and Rakshand could have parlayed his law degree from the University of London into success as a barrister. 

It was all about what they did for others, the public service they performed with quiet dedication, selflessness, and humility. Rakshand would relate that when he got a phone call from RMAF President Susan Afan, his first thought was that he was being called to vet another candidate, not expecting to be told that he was the awardee.

All this made me think more deeply about how the rest of us aspire for honors, by which we almost exclusively mean personal and individual recognition. Indeed, from the grades up, we’re trained to venerate valedictorians, summa cum laudes, board topnotchers, top salesmen, beauty queens, boxing champions, singing sensations, and best actors and actresses. To be one of them is to have achieved meaning in one’s life. Our living rooms and offices have long been excuses for trophy displays, but now social media has done them better by offering a free and wide platform for self-promotion, so that not a day goes by without someone announcing some new achievement.

And why not? I suppose it’s a natural human desire to rise above the herd and be known for something, be it physical beauty, vocal prowess, athletic skill, or mathematical genius. In a world where we’ve become increasingly commodified and homogenized, self-assertion (in many cases—think Instagram—to the point of narcissism) seems mandatory, if only to say “I’m here. I’m good—no, make that, I’m great!”

So we look around at what others are doing and try to do them one better. The Internet has magnified expectations to such unrealistic extents that young people have committed suicide for reasons that people from a hardier generation would have found laughable were they not so tragic. In our quest for recognition—any recognition—we’ve fallen prey to a slew of awards, pageants, and prizes of doubtful value, even paying to play Cinderella for a day and half the night. The awards themselves have become commodified and homogenized.

To be honest, I myself have built up my own little stack of writing prizes, some of them worth more than others. But again, what is “worth” beyond oneself? Like a punch-drunk boxer with a rack of belts, all they show is that I’ve lived a life as a literary combatant, when a writer’s true prize should be the readership of his or her people, perhaps the world. In a society that gives little value to books, or is too poor to buy books, that’s an Olympian challenge. 

The Ramon Magsaysay Awards and what they stand for remind us that while service to others is often thankless and sometimes even dangerous, it’s just as legitimate an aspiration as any other, and one we don’t emphasize enough in our personality-focused culture. Our historians and sociologists will have reasons for why we seem to value kani-kaniya over the tayo, or why the African concept of ubuntu, of finding one’s meaning in community, sounds foreign to many of us. I can only guess that the ruthless demands of surviving and succeeding in a cash-driven society have encouraged us to compete rather than cooperate.

The RM Awards are, of course, also a kind of competition, but one without losers, as everyone nominated has already won in his or her own sphere, has already done good by others. The chosen laureates merely stand for their co-workers, for the ideas and values they represent, and above all for an insistently optimistic and assertive humanity in a world splintered by violence, greed, and intolerance. 

Greatness can be aspired for—I suspect the truly great don’t even think about it—but it cannot be applied for, much less paid for.

Penman No. 139: Memo to the Palancas

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Penman for Monday, March 9, 2015

[THIS JUST IN: Mrs. Sylvia Palanca-Quirino, director-general of the Palanca Awards, called me to announce that the implementation of the copyright rule discussed below will be suspended pending a review to be conducted by the foundation.]

THE PALANCA Awards—the country’s best known and, especially for young writers, still the worthiest literary award to go for—are entering their 65th year this year. I was happy to be reminded of this milestone by an email I recently received from a representative of the Carlos Palanca Memorial Awards for Literature Foundation, which administers the awards. The rules and entry forms, I was told, were now available at http://palancaawards.com.ph/newPalanca/entries.php.

I took a peek at that page—not because I was thinking of joining, something I haven’t done in 15 years since I was inducted into the Hall of Fame—but because I was curious to see what was going on with the Palancas, to which I and hundreds of other Filipino writers owe so much of whatever we’ve made of ourselves and of our work.

For the members of my generation—those of us who began our writing careers under martial law, when there were hardly any publishing venues and free speech was under the gravest threat—the Palancas were a lifeline, engendering the production of good new work, even though much of this would come to light only after 1986.

The Palanca Awards have also been vital to the encouragement and promotion of new writing from the regions and from young writers, for whom special categories have been added. Its biennial prize for the novel—which is up for grabs again this year—is key to the production of new work in this flagship genre, which I’ve argued is really our only way to get our writing known to publishers and audiences overseas.

For all these, the Palanca Foundation and family deserve every Filipino writer’s deep gratitude.

I should note, however, something I spotted in the rules that might be cause for concern. Pardon the long quote, but you’ll see why this should raise eyebrows:

“21. In submitting the Work(s) the contestant and parent/guardian (if applicable) (the “Contestant”) accepts and agrees to the rules of the contest (the “Rules”). In the case of a winning Work or Works, the Contestant further grants and assigns to the Sponsor the concurrent and non-exclusive right to exercise the full copyright and all other intellectual property rights over such Work(s), as well as all intellectual property rights over the Contestant’s previous Palanca Award prize–winning work(s) if any, (collectively, the “Work(s)”), and waives all moral rights over all his or her Palanca Award prize-winning Work(s) in favor of the Sponsor.

“This grant, assignment, and waiver of rights (the “Sponsor’s Rights”), may be exercised by the Sponsor to the extent permitted under existing laws applicable at the time of exercise. The Sponsor’s Rights shall extend to all forms of storage, transmission, dissemination, and communication, presently existing or subsequently created. To the extent permitted by law, the Sponsor’s Rights shall be worldwide, continuous, and may be exercised by the Sponsor for the maximum time allowed by applicable law. In furtherance of education the Sponsor reserves the right to donate copies of individual winning Works or compilations of Winning Work(s) to public and private educational institutions and public libraries.

“To promote Philippine Literature in the modern world of information technology, the Sponsor intends to make the winning entries accessible through the Internet or other electronic media, to serve as a literary archive of the contest. The website or other media to be established for this purpose are intended to be a repository of the award-winning Works, recording the history of the development of Philippine literature over the years through the Palanca Awards. In making the Work(s) thus available to the public, the Sponsor intends purely to promote literary appreciation for and public awareness of such Work(s), and not to commercially exploit the same. Contestants must indicate on the Official Entry Form whether they agree to have their Work(s) posted on the CPMA website and made available for downloading by the public for free in the event that a prize is awarded for the entry; in the absence of any indication in the entry form, it is presumed that the author has agreed to such inclusion of the Work. To encourage use for educational purposes, winning Work(s) shall be posted on the website in their entirety. Should any winning author subsequently instruct the Sponsor in writing to include or remove the Work(s) from the Internet archive, such instruction will be honored and the Work shall be included or removed from the Internet archive within a reasonable time from Sponsor’s receipt of the author’s written instruction. The exclusion of any winning Work or Works from the website shall not constitute a waiver of any of the Sponsor’s Rights.

“The prize money which may be awarded to the Contestant for the Work(s) shall constitute full payment for the Sponsor’s Rights, and shall be in lieu of any royalties or other compensation to the Contestant.”

Please correct me if I’m wrong (and I hope I am), but this this reads to me—and I wonder who else will read the rules so carefully—practically like a blanket waiver or surrender of one’s rights to the present work, including those to one’s previous winning works, as well as e-book rights—to the foundation. Unless you explicitly say no, your winning work could also be published in its entirety online and downloaded.

In this age when Filipino writers have just begun to understand the value of their work as intellectual property and to exercise those rights, this rule could be a deal-breaker for many established authors wanting to join the competition, and a rather onerous imposition on new writers dying to get a break.

Some other Palanca oldtimers like fellow Hall of Famer Krip Yuson and I have had the occasional pleasure of a private lunch with Palanca Awards director-general Sylvia Palanca-Quirino to informally review the rules and update them if necessary. Since Sylvia’s not been too well lately, we haven’t had this privilege, else I would have told her personally what I’m saying now, thinking that this over-claiming of intellectual property rights could have been a well-intentioned oversight meant to facilitate the promotion of Philippine literature.

But since the rules are out there and the competition is now officially open to all, I feel obliged—on behalf of my fellow writers—to go public with this appeal to review and moderate those rules, to make for a competition that’s freer, fairer, and more fun.

(Image from palancaawards.com)