GENDER AWARENESS THROUGH

THEATER ARTS, GAMES AND PROCESSES

 USAPANG
BABAE
GENDER AWARENESS THROUGH
THEATER ARTS, GAMES AND PROCESSES

This is primarily a manual for gender awareness

facilitators who have undergone training in the
use of theater games and processes and lor National Commission on the Role of Filipino Women
facilitators adept in gender issues and theater Manila, Philippines
techniques. t992
 NCRFW PROJECT STAFF

REMEDIOS I. KIKKEN
Foreword
ERMELITA V. VALDEAVILLA
ROSANITA A. SERRANO
MAYVELYN B. REMICIO ender Consciousness Raising in the
ADMIN ISTRATIVE, PROCRAMS AND RESEARCH STAF'F' Philippines as a component of
who have contributed to the testing of the module government development prograrns is
made imperative by the Philippine
Development Plan for Women as adopted and
BOOK PKODUCTION STAFF
approved for implementation by Executive Order
No. 348 and recently, by Republic Act 7192 or
Writers BINC C. MACTOTO
the Women in Development and Nation Building
ERNIE N. CLOMA
Act. The program for consciousness raising
I{anaging and Copy Editor JOHVEN VELASCO
targets the entire hierarchy of government, from
Frook Design and Layout PIO CANDELARIA
the top management of the agency to the
Illustrators BONA DAZO
extension workers.
CORAZON YAP
Because of the very nature of their jobs,
PIO CANDELARI,A
gender consciousness raising c€rn be given/
Music Notator UPENG QALANQ FERNANDEZ
conducted through highly conceptual and
technical orientation sessions or trainings for
agency top management and technical staff
(MANCOM, Planners, FIRDs). On the other hand,
when conducting orientation and training of
extension workers and researchers, who are
actually in the frontlines dealing with the
grassroots - wornen and men - it is not enough
to have the concepts. The process of training is
as important.
The task of training the extension workers
and researchers has been delegated to the
Human Resource Development or Training
o Officers of the different agencies. How can we
National C,ommission on the Role of Filipino Women assist the extension worker raise the
Manila, ?hilippines consciousness of the grassroots on gender in a
1992
||lll
more creative way? How can gender concerns be
presented in a manner that people would
understand and participate in advocatirrg gender-
responsive development? And in turn, how can
Contents
both women and men easily express their own Foreword
appreciation, ideas, and experiences of their
present realities? lntroduction I
This is where theater for grassroots education
or "popular theater" as a consciousness raising ?art One:
methodolory comes in. The National THEATER F'OR CRASSROOTS EDUCATION 7
Commission on the Role of Filipino Women Education Through Integrated Arts 9
(NCRFW) had this handbook developed and FIow to Prepare a Workshop Syllabus t2
published as part of our commitment to advocate
Part TWo:
gender and as our contribution to people in
constant comnnunication with others.
BASIC WORKSHOP FOR CENDER AWARENESS l5
The handbook is intended to be a guide for
Model Syllabus for a 5-Day Basic Workshop l6
Day l: Nasa Sarili ang Kultura 23
trainors and extension workers. We hope that
through the suggested exercises, we may be able Day 2: Mga Istruktura at ang Babae 5l
Day 3: Pagbabago 67
to tap the creative potentials of trainors and their
participants so that both may be able to freely ?art Three:
express their feelings and experiences. The AI.,TERNATIVE AN D SUPPLEMENTARY
handbook is like a treasure map which we hope EXERCISES 8s
will lead those who will use it and those who will Exercises tsased on Topics/lssues 88
experience it to a more meaningful developmerlt Special Functional Exercises lt5
of the human being. Suggested Readings of Basic
Qender Awareness Training l17
Remedios l. Rikken Appendices
Executive Director
NCRFW
l. A Meeting ' ll9
2. Creed t2l
3. Ang Fantasya ni Eba r23
4. He Works, She Works 125
5. The Obstacle Course t27
6. For Every Woman r29
7. What ls To Be Done? l5l
B. Course Evaluation 155
Introduction
ow do we best tatk about gender issues
with women, especially women in the
grassroots? In what way can we best
facilitate women's reflections on their
lives and help them see the role that gender
plays in them? How can we make this Process of
reflection the beginning of the Process of woman
empoweffnent, of women learning to get hold of
their lives and to deal with the effects of gender
on them?

When the National Commission on the Role

of Filipino Women (NCRFW began running
seminars on gender issues, it realized that
conventional training aPProaches, using
lectures and discussions, have limited
applicability to grassroots women. Feminist
theories and gender ideolos/ have to be
presented in ways that communicate to
women in their real-life situations, in their
daily struggle to balance the demands of
child care and income earning, most often,
in conditions of extreme poverlry.

Luckily, the NCKFW did not have to look far.

Kight here in the Philippines, from the grassroots
people'S movement, vanous conscientization
approaches have been tried, tested, and Proved
effective. One of these is theater for grassroots
education, oftentimes called "PoPular theatQr",
widely used by non€overnmental and community The next opportunity for exploring how
org€ulizations. The Philippine Educational Theater popular theater can be used in gender
Association (PETA), over a decade of experience awareness raising came with the appointment
in popular theater, both in the Philippines and by the Civil Seruice Commission of Equality
abroad, ha,s now fully developed this educational Advocates (EQUADS) in all its regional
tool. offices. Their main task is to attend to cases
of discrimination against women in the
The partnership of NCRF'W and PETA in the government seruice. Their role requires that they
use of th eater for gender awareness raising has themselves fully appreciate the gender problem
been intermittently going on since l9B7 , It before they can effectively assist woman victims
began with the holding of workshops on creative of discrimination. NCRF'W and CSC believed that
dramatics for the NCRFW staff and women from this is best achieved by facilitating the EQUADS'
some of NCRFW's partner agencies in reflections on their lives to see how the gender
government. Participants were personnel from problem affected them. Thus, the use of popular
the Bureau of Women and Young Workers of the theater as the training approach, and of gender
Department of Labor and Employment and the as the content, was decided. They again tapped
Bureau of Agricultural Extension of the PETA to serve as trainors.
Department of Agriculture whose work involved
direct contacts with women workers and peasant The success of these joint efforts encouraged
women. In choosing to give them the theater NCRF'W and PETA to fully develop a module on
workshop, NCRFW did not think much of the use of popular theater for gender awareness
introducing to the bureaucracy a new approach to raising. Confident on how well theater has
education. Its main intension was to help promoted grassroots education, both agencies
'. went ahead in developing a module in the use of
transform the woman employees' own
perceptions of themselves. creative dramatics for educating grassroots
women in gender issues.
A ware of the impact of creative dramatics
on people, NCRFW wanted to give the participants The need for completing this module became
a venue for releasing their inhibitions, for more urgent with the NCRFW involvement in the
exploring their creativities and for expressing UNICEF'-funded project for women and children,
their inner selves. NCKFW believed that by entitled Area-Base Child Survival and
first helping the participants become more at Development Prograrn. NCRF'W volunteered to
ease with themselves as women will they be develop a training module that can be used by
better prepared in relating with their woman the project implementors for the woman
clientele. participants to the prqiect. Funding for the full
 development of this module carne from UNICEF', gender problems manifest in the participants'
to whom NCRFW is grateful. lives and what they can do to break the cycle of
gender subordination. It also makes them realize
NCRF'W first tested this module in a that their problems aye not unique and isolated
workshop mainly to its rank-and-file staff who personal misfortunes; they have social and
had very little formal training in gender issues. political dimensions. Action must therefore
NCRF'W chose the staff to be its first involve both personal and socio-political
participants because it hopes to reach the rest response. Both content and Process allow them
of the rank-and-file women in government. AIso to build sisterhood and to begin to think along
as staff, they must likewise fully appreciate collective action.
NCRF'W's work so that they can connect their
work with their own lives, and adopt its mission With this module, NCRFW and PETA hope to
zls their own. contribute to raising women's consciousness, to
building women's collective action, and to
These experiences led NCRF'W and PETA to promoting women's empowerment, esPecailly
finalize this module on Basic Qender Awareness among women who need these most flrs
Workshop. It adopted PETA's methodology: women in the grassroots.
-
" education through integrated arts" (See
pp. 9-l l). The content focuses on gender
issues, specifically the participants' own MAXIMIZING THE USE OF TIIIS PIANUAL
experiences and insights on the gender problem.
Below are some guidelines in using this manual.
The module makes use of Creative Drama,
Creative Writing, Visual Arts, Creative Sounds and O We never considered this manual to be a
Music, Creative Body Movement, and Croup recipe book. The plans, content and methods of
Dynamics. It hopes to stimulate the vast attack will always depend on the obiective of the
reservoir of under-utilized creative energies workshop, the facilitators' obiective and more
arnong the participants and to help them give importantly, the needs of the participants. (See
form and expression to their inner selves. Thus, pp . l2-14.)
the workshop takes them along the road towards
self-empoweffnent. O Exercises may vary according to the needs
of a particular situation. Methods of giving an
The process advances self-empowerrnent by exercise can also change. The manual wants to
I

using life experiences as the content of the evolve a participatory and evocative or
workshop. The sessions try to identify how the partici pant -cent ered [)rocess.
L
 O We find the other exercises in the Clossary
of Alternative Exercises (?art III) useful. You
may supplement the exercises suggested in the
model syllabus.
Parft @n@
O Notice that the chunking of exercises is
modular, thus one exercise leads to another and
the graduation of exercises deepen the issues
tackled as well as its processes. The facilitator
should see to it that graduated series of
exercises deepen a m4jor content/issue.

O You c€u1 invent or irnprovise new exercises

which will enrich the experience. Share these
with us.

O Read through the whole 1-day plan and

make your own if you wish. TTIEATEK
O The facilitator's adaptability and sensitivity
plays a vital factor in adopting these plans.
FOK
At some points, wherever we feel it ,
GKASSROOTS
necessary and helpful, we give instructions and/'
or examples for the exercises and activities in EDUCATION
Filipino or in combination of English and trilipino.
We enjoin the facilitators to do the satne - using
the bilinqual approach - whenever they feel that
the instructions/examples may be understood
better that way.

Good luck and Congratulations. May your

concern for the Filipino women be greater.
iltil

EDUCATION TTIKOUGH
iltll

INTEGKATED AKTS-
hrough the years the Phitippine Educational Theater
Association or PETA has successfully proved the
effectiveness of a method of sharing skills and insights
through an lntegrated Arts Education Program that
considers individuals and their relation with a group. This
methodolory demonstrates the value of zut in freeing
individuals steeped in a culture of silence. They realize
their creative potentials and in the process release,
explore, become aware, select, master and apply this
potential for gtrowth. Called RAESMA (after the initial letters
of the processes) these methods of stimulating growth
constitute the whole workshop process,

The Integrated Afts Workshop (lAW) makes use of

Creative Drama, Creative Writing, Visual Arts, Creative
Sounds and Music, Creative Body Movement, and
Group Dynamics to stimulate the vast reservoir of under-

6ii utilized creative energies among the participants. It also

taps their inner resources to help them give form and
expression to their inner selves. The worlshop helps
palticipants grow into creative persons no matter who they
are, where they come from, or whatever their occupation
and status in life iare, rather than make professional aftists
and performers out of them. In this manner, theater
utilizes the development of human resources and creative
potentials, truly glving it an educational function.

Creative Drama serves as the workshop's core

subject area. Primarily an improvisational theater, the
output depends on the imagination and creativity of the
participants. Creative Writing provides non-writers with

' Reprlntcd from BITAW: Baslc Inlegratecl Theater Afts Workshop Manual (?EIA Manual
Scrk:.s No. l ), Phllllrlrlnc fldrrcatlorral Thr:ater Assoclatlon, 1 987.
 experiences that may serve as points of departure to the may start with individuals. Just as exercises progress from
composition of poems and narratives in written or oral simple to complex, the working method also progresses
form. Visual Arts explores the elements of arts and from individuals to subgroups to big group.
principles of design in actual improvisatiors, through the The groups, in additioh, process their own dynamics.
use of exercises that build skills in imagery and actual "To process" here means to talk about what transpired
execution, using simple materials and techniques. during the goup's activity and each speaks about his/her
Creative Sounds and Music introduces the power of experiences with particular co-pafticipants and with the
sound and music in communicating ideas and feelings, at group in general. Civing and receiving feedback, therefore,
the same tirne encourages the participants to explore constitutes a vital feature of lgoup process. Pafticipants
possibilities rather than allow themselves to be limited by constantly glve their comments and observations at the
conventional means. Creative (Body) Movement helps in end of each unit lesson and whenever possible, give their
making the participants become aware of the extent and suggestions and recommendations. Since this is most of
the power of the body in conveying messages with gestures the time built in the exercises, the participants get trained
and mimetic movement. To prepare the paticipants in the to give qualified criticisms that will benefit everyone
spontaneous use of their bodies for self-expression, concerned. Toward this end, participants receive guidelines
release exercises are included. Warm-ups and physical so that criticisms Eue constructive, properly motivated and
exercises, used daily in the workshop, release physical well-directed. Tactless and personal criticisms which do
as well as psychological tensions that tend to reinforce more harm than good Ne avoided.
inhibitions. These release exercises free the participants
from the fear of failure or committing mistakes. Ultimately Finally, the synthesis session at the end of each day
these make participants realize that the ability to express allows the participants to reflect on and assess their
what one thinks or feels and to recognize one's potentials experiences. Here, experiences get elevated to the level of
serve as the essence of empowerment. Lastly, Group concepts thereby integrating the learnings gained.
Dynamics facilitates i nteraction among pafticipants
leading to camaraderie, teamship and community spirit.

Group Process
Active pafticipation of each and every individual
not only in the games and exercises but also in
the discussions, in the sharing of views, opinions and
suggestions became one outstanding feature of the
PETA workshop process. No individual dominates any
activity, not even the facilitator who acts unobtrusively.
The group in a workshop represents a microcosm of a
bigger world outside. The dynamics of a group reflects the
dynamics of the outside world. Group dynamics in PETA
workshops refers to all activities, games and exercises
where goup interaction occurs. Most of the workshop
exercises end up as group activities, although initially some
I
 HOIil TO PREPAKE A what is the composition of the worlshop participants?
Have they undergone previous theater worlshops? What
cultural work h ave they experienced?
WOKKSHOP SYLLABUS- These very impoftant questions help the facilitators
in defining the thrust and scope of the workshop. At this
point you must also inform the sponsors about the
he syllabus, the actual teaching guide, contains the features, content, methodology, and requirements of the
conceptual framework of a pafticular workshop. It workshop.
includes the timetable, the objectives, motivational
approaches, materials needed, actual lesson plan,
theoretical input, procedures, instructions, and guidelines. O Set the workshop objectives.
While a workshop syllabus should allow arnple room for After an initial gathering of data on the participants'
spontaneous expression and unhampered creativity of the profile and general expectations from the worlshops, the
pafticipants, it entails careful planning to ensure that the teaching team sits down to plan out the syllabus. They first
facilitators Ne guided by a teaching approach that will define the workshop objectives which are answers to the
effect the desired objective. needs of the participants.
We consider syllabus planning, therefore, as an
impoftant phase in the entire workshop process. Likened
O Plan the content of the syllabus.
to a journ ey, the traveller prepares for the trip and readies After setting the workshop objectives, the team
the following: personal needs, objectives of the trip, the discusses the content and thrust of the syllabus. What
map and the routes, budget, and activities. She prepares interesting modules can be used to bring out the
alternative courses of action to achieve the objectives of objectives of the workshop? What different exercises in the
the journey. various subject areas can be used in the chosen modules?

How then do you prepare for a workshop experien ce? Remember that a module consists of a series of
Below are a few guidelines, .
integrated creative exercises using different subject areas,
usually arranged from simple to moderate to complex,
leading to a final form, It may be based on different theater
O Sit down with the sponsoring styles like Realism, Dramatized Poetry @ula-Tula),
organization. Allegorical ?lay, Sarsuwela, Komedya or lvloro-lvloro,
Bodabil, etc.,i or on those forms suggested by popular
Find out the objectives of the workshop, what it hopes mass media such as radio, television, and comic books.
to achieve during and after. Why did they think of a
worlshop for the group? Is it to tap their creative The cultural profile of the participants' community
potentials? Why? Is it a need? Do they intend to come up also serves as a guide in the selection of theater forms
with a production? Do they intend to use the workshop as to be explored. For example, in a community where
part of a process in organizing the goup for cultural work? folktales abound, their adaptation to contemportry
allegorical plays may be excellent; or in a place where
there exists a tradition of balagtasan (poetical joust) or
singing, these forms rnay be adapted or incorporated into
whatever theater form module receptive to cultural of
(:x prcssion.
'Repr'fnted from BITAW: BasiclntegratedTheaterAfisWorkshopManual (?AtA Manrral
Serles No. I ), Phlllppine Educational Theatcr Assoclatlon, 1987.
 A module may also spring from an objective, ?s in the
case of the Release lvlodule, invariably adopted for the first
day session. It releases inhibitions and altistic potentials
uunong the pafticipants. The Evaluation lzlodule at the end
assesses the worlsshop process as a whole.
)?arft Tw@
Plan in the context of the local culture, in
consideration of the values and mores of specific cultural
corununities. For instance, in certain Muslim cultural
communities, touching between members of the opposite
sex is not acceptable; so is the representation of human
forms in art which constitutes a transgression of ceftain
cultural values. Be wary of such circumstances.

BASIC
WORITSHOP
FOR
GENDEK
AWAKEI\ESS
 BASIC CENDEK AWAKEIITESS TKAININC
facilitators/
Staff
MODEL SYLLABUS Answer to
Expectation
Objectives/ Presentation/ Schedule Chaft
ACTIVITY/TOPTC METHODOLOGY MAT./KEF. Schedule Discussion
d. Orientation to
8:5O ' 9:OO Regidtration Reg. Forms Women's
Workshop
9:OO - 9: 15 Opening Session Qroup ?rayer Flandout: e. Attitude Setting Paper folding & ?aper
Invocation: "A Meeting" Welcome/ A Meeting Symbolic
Opening Remarks Challenge Representation
Speech
f. Responsible Oryanizational Schedule Chaft
9: 15 - 9245 l. Unfteezing Melody/Movement Teams Processes/
Games Teaming
a. Tumbaloy Song Song Chaft l2:OO - l:OO P A /Y A /Y Ci 17 A L I A /Y
b. Acrostics Interactive Pentel , crayola,
Descriptions pieces of paper l:OO - 5: l5 lV. Sarili, Lipunan,
Kultura
c. Ngusuan ?lay way l:OO - l:5O a, Sarili
d. Mahal lvlo Ba ?lay way/Ylusical IIong-llong Play way
Ako? Chair Touch Body
Pafts
e. Trabahong Image ftableaux Song Chaft Short feedback Plenary
Babae Croup Work
Naku ITal Singing Came l:50 - 2zOO b. Lipunan
Panlalake- Qroup Qame Mla. paper/
9245 - I O:OO IVIEKYElYDA Pambabae pentel pen
lO:OO -ll:OO ll. Personal feedback Plenary
Sharing: Synthesis
Ako, Ikaw, Tayo
2zOO - 5: 15 c. Kultura
a. Blind Contour Drawing ?aper, pencil, Fantasya ni Eba Reflection/ l-landouts:
Drawing crayola Disctrssion "Fantasya nl
b. five fingers of Drawing/Sharing Pencil, paper Eba" back-
My Life Note-taking ground music
Kasi Babae Creative Drama
c. Urbana at Felisa Sharing Drawing of
preceeding 5: 15 - 5:5O M A
exercise
5:50 - 4 l5 d. "What is a Cirl? [.ecture Slides
I l:OO - l2:OO lII. Expectations What is a BoV?'
Check
tl:15 - 5:oo V. Slrort Recap
a. Oroup Sharing Sharing Mla. paper'8( ol t lre Day
dt'awitrg trr:rt.s.
C)r rl<'lt l(r':tr I lotts (.r'eative Drama Day I Schedrrle,
b. Syrrrbols to Syrnl^rolic I)r;twlrr<1 rrr;rls. tt Pl()v(:rrrr:rrt piec.es of paper,
Insl:tllitl io rrs l(r' )l (:,s(: trl :tl ior
1
r ;ul l):tl)('t, t'l< c;r rr:st i<>rrs
Ilttot ttllr Arl ot lot tttrl wr ll I r:n ( )n l)itlx:t
Ittsl.tll:tl lott oIrfr'( |',
 l2zOQ-l:OO PAlYA /YOHALIA /Y

l:OO - 5:OO lll. Analysis of the

Structures
l:OO - l:5O a. Paramihan N9.,, Play way
ACTTVITY/TOPIC METHODOLOGY MAT./REF.
l:5O - 5:OO b. Stttdy Qroups Subgroup Books, news-
Workshops paper & maga-
9:OO - 9245 Opening Creative Drama zines as needed
Activities by pafticipants
a. Limbering Body Movement Taped Music
Exercises or for Limbering 5:OO - 5:5O c. Plenary Session Creative Sharing
Physical Qame
d. Clearing Flouse
b. Introduction to Reflection/ Schedule/Chart
Day 2 Presentation 5:5O-5:45 IYERYE /YDA
3245 - 4:15 IV. Recap of Day 2
Reflection- flow of Activities
writing (Days 2 & 5),
paPer, Pen or
9:45 -IO:OO w E R Y E /y D A crayons

I O:OO - l2zOO Structures that

Dictate The Role
of ltomen
a. Damitan Costume Materials for
FIo Ako Improvisation C-ostume
Improvisation
b. Reaction Creative Pieces o[ paper
through Movement
Sound, & Drama
Movement
& Dialogue
c. Deepening: Creative Drama Pieces of paper
Isang Araw Sa as needed by
Buhay N9... participants
d. Synthesis: Reflection &
Sharing
Discussion
 a l2:OO - l:OO A I

n 0 l:OO

2:OO
2zOO

2zl5
Continuation of b.
c. Qroup tlealing Body Touch
processes
ACTIVITY/TOPTC METIIODOLOGY MAT./REF. Affirmations
2: 15 MtrTA Plan Pieces of paper
9:OO - lO: l5 Opening
Activities Mural-making Pentel pen,
Song, Dance, crayons
a. Limbering Body Taped music Drama mla. paper
Exercises Movement for soft & easy improvisation
Body Movement
5:OO lll. Pagbabalik
b. Qroup Dynamics Play way Writing & Mla. paper/
- Entanglement Discussion Pens
- Trtrst fall
- Lifting & 5:5O - 3245 E A
Rocking
3:45 - 4245 lV. Evaluation
Module
Sharing of Evaluation
feelings/ form
lO:15-lO:5O IvIERYE /YDA Insights Workshop
objectives
ll. Change Workshop
Resolution and schedule
Planning
4245 - 5:OO V. Closing Program
a. Tunggalian Sa a. Pillow talk Creative
Buhay Ng Babae Improvisation Pillow
lO:5O -lO:5O We-Exercises:
b. Qrowth Chain 5-word Sharing
. Samson &
Delilah
. Out Balancing

lO:5O -l Verbal Conflict:

. Jog-Freeze Creative Drama/
Improvisation
. Verbal Pairs Creative Drama/ Pieces
Improvisation of paper
I l:50 - l2zOO b. Breaking Qroup Sharing
Repression Creative Drama

h
 NA.sA SARILI
A/YG KULTURA
lrr fi
Ill),? l\r/ ,J
t'v''tty I I
focuses on the participant
as a womall. Thus,
the most important exercises involve personal and
outlook sharing as a woman and the effects of
culture on her.
There exists, therefore, a need for the facilitator
to see the connecting points and relationships of the
ideas surfacing from these exercises, based on the
personal experiences of the participants" This wilt
help the facilitator synthesize the rvhole learning.

The first part, which is the release phase, is just

as important. lt helps panticipants prepare for the
various attitudinal needs of the $ucceeding exercises.
j
&r The organizational processes in the expectations
check set the mood for the succeeding days. frlere
the participants realize that the success of a
workshop depends on everyone; thus, one may set the
organizational mechanisms earlier for smooth
workshop sailing.
,*
;r OBJECTIVES FOR TIIE DAY

l. Tap and encourage the creative energies of the

, expressive participants through release of
L
inhibitions.
{8
2. Encourage active participation in various
discovery games and exercises.
,,
J. Foster camaraderie, ftiendship and deep concern
and understanding for each other.
l+. lntroduce the workshop oQjectives, process,
scope atrd issucs ilrvolvecl as well as the people
trehind thr: w()r kslro;r.
OPENING SESSION
INVOCATION
15 rnins.
Objective:

To open the workshop through a

group prayer. I. I.JNFREEZING GAMES
Materials:
tlandout - "A lvleeting" (See
Appendix l, p. I l g)
or any prayer may be said for the
30 mins. 2. Provide un freezing activities
that put participants at ease
with each other.
success of the worlshop
The succeeding games
rclease inhibitions of the partici- The release games include:
Procedure:
pants, break down walls and
l, Form a big circle. Croup rnake them more comfortable with O Tumbaloy - name, movement
t:ach other. Certain aspects on and melody - (5 mins.)
pafticipants into threes. Each
group reads a stan za from the being a woman get injected in the O Acrostics - (5 mins.)
handout fliriam of Nazareth last exercise to make the partici- O Ngusuan - (5 mins.)
1>ants more conscious of the thrust
o t lahal tvlo

While a group reads, others of the workshop . lf , however, the Ba Ako? - (S mins.)
follow and reflect on the participants already know each O Trabahong Babae?
other, Game I may be omitted. Naku flall! (lO mins.)
message given.
['roceed to Came s 2,3,4. Each
game may last for 5-7 minutes. After the games, have a 4-b
3. After the whole reading, have minute sharing by asking the
a minute of silence. The following questions:
facilitator leads the reflection/ OBJECTIVES:
prayer.
Provide release activities that o What do you feel now? Why?
will help pafticipants get to o What did you discover about
know the name of each yourself or about each oth er?
pafticiparrt. o What can you say about the
grouP now?
 A. TUIWBALOY -
D. Next 6 persons give their
names with melody, each with
TI/I"I YA;OY
a corresponding movement G
(5 mins.) showing things she enjoys
doing (be original); goup mir-
Objective: rors melody and movement. I.y Tlu^b,r - toy lry lry li,n bo
t tO
^
Introd uce oneself creatively. At the end of the activity teach
the following song and ask i h,tr, srynr5 fu - a-bo-
Procedure: each one to sing and move
according to her personal
l. Croup forms a circle. One goal:
starts by saying her nickname
L\ ra.
// a t,( tr br, lru'7
" fl. f,tfi," fI4 lat
aloud; gfoup echoes. r{oRo: Tt€ n4r\.t/14

C
iill/ Tumbaloy-loy-loy a

2, First 6 participants give their Tumbaloy-loy-loy

llll names aloud; group echoes. Tumbaloy-loy-loy
Tumbaloy
3. Next 6 participants say their Tayong Kababaihan
r///
names with a melody (be Siyang Pag:asa ng Bayan
ll
ri
original); group echoes Babae'y isulong sa Kaunlaran l,t f ./
I
? rlz - lt1
iii melody.
Ako si (sabihin
Next 6 participants give their ang pangalan)
rl

names with melody and

AKO SI
I

corresponding movernent (be

Isang Taga VILMAI'
(sabihin ang pinang-
'it origrnal ) ; gfoup echoes galingang bayan)
rnelody and movement. Ang trabaho Ko'y
ll
(sabihin ang trabaho)
1/

Ang nais Ko'y

(sabihin ang nais)
l'

/
B. ACKOSTICS back. Each player moves
Euound and the other
pafticipants write a word --
(5 mins.) noun, aQjective or verb - to
picture how or what she fells
Objective: about the person whose name
is written and pasted on her
Introduce co-pafticipants based on back. The word should start
one's perception. with any of the letters of the
name spelled downwards.
Materials:
2, When all the letters of
Paper, pen or crayola, pin or tape everyone's n€une canies a
meaning, stop the game and
Procedure: let each player get the paper
on her back. She reads what
l. Each player gets one whole is written.
sheet of bond paper and
writes her narne spelled down. E. g. E eauty
I ntelligent
E.g. B N utty
I C reat
N
c
She then asks someone to
paste the bond paper at her c
o
oooo
NGru ...
ANO KAYA
ANG tstN ut_At
C. NGUSUAN Ask participants to form a big
circle.
t!'ve?
(5 mins.) 2, The facilitator points out to a
participant who then moves
away and goes out of the
o, AYeNt Objective:
circle.
/ Release physical inhibitions'
3. In order to regain a Place in
Procedure: the circle, the "dePosed" Par-
ticipant takes her turn in
We Filipinos like sign pointing out a co-pafticiPant,
language. At times, in Pointing once again through her liPs.
out things, we use our mouth or As in step 2, the PafticiPant
llps (nguso) instead of using who got pointed out leavel
our fi nger. her place out of the circle.
This goes on and o11...
f). IIIAHr\L MO BA AKO? E. TRABANONG BABAE?
/VAKU HA!!
(5 mins.) 3, If answer is YES everybody
changes her place.
Objective: (l O mins.) TAYOIYC BABAE
If answer is ffO, the IT or the
Get to know more about the taya asks "Sino ang mahal Objectives: Tayong babae,
group's physical characteristics. mo?", One answers according lagi nang handa
to specific physical I . Define specific tasks done by Tayong babae,
Procedure: description of a SFoup. women. kay raming gawa
Tayong babde,
l. |-et the gfoup sit in a big E.g. Lahat ng naka-maofrg, 2. Foster fun and team work in a Iikas malakas
circle. Iahat ng naka-hikaw, etc. creative activity. Tayong babae, PAO-ASA
All those fitting the
2. One starts by asking "Flahal description shall change Procedure:
mo ba ako?" places.
t. Staft by teaching this sohg:
(To the tune of "WARAY-
S^ $Ar{G sr L cG", WARAY,"

TAYDNL- VADAE- (+, lite t.an"

[-
-i-
D\ UJAKAY - UA

'l.f lyv{
-{
4-r I

I
Tu y.t3 tr v.nq
| !9 t

$'
K/.y va:W in'1 i.t- ''tta'
Ta ya{{ b," - bo- e t I k1.e t/|4'\
F
i
[j
ta /. r:, CAA -A

?, zft, (t1

-- --
2, Group into threes. Think of Participants and facilitator I End the activity with a song.
tasls that women do or can grab partners (5 in each
do given a specific space. group) anrl form a tableau of
Each goup defines this task babaeng nagluluto. Since the IIATVII ANC BABAE
through action. No words may facilitator joined, one will not
be used. have a group. She becomes Kami ang babae
the IT or the facilitator. Ang Babaeng PAO-ASA ng BaYan
Kapit kamay natin ang lalaking
Sample Spaces: Sing and dance around again bukas kalooban
with "Waray-Waray" and the IT Sabay tayo ngaYon
Kitchen Bathroom Garden calls out a new task. The Sa pagsulong ng kababaihan
Garage Office School game proceeds as in Step 5. Ako ay naririto, Ikaw aY narirtto
Sabay tayong matututo.
Possible tasks:
5. Continue the game until six
cooks food drives car budgets
different pafticipants become
the IT.
washes types in plans
clothes otf ice family Co back to the big circle and I<A}.TI AN6 EAVAE
activities sit down. The facilitator
starts with the synthesis by llr r{ IATD
chops wood manages cleans asking the pafticipants to ;i,
otf ice house surface their feelings and
work insights on the different Ko. baba P
^^{
ba-
activities they just did. e ^-/'q
._{

fetches sells f ish, feeds

water etc. pets
Deepen by asking what they
noticed among the tasks
ba t<a- karrtnay tnd* -
gardens cleans goes to traditionally assigned to ,',nS ?a1'."e'a- "'j WCT 7
car market women. Some questions
which could be asked: What
tutors attends plans did you discover about the T- \-/

children PTA meals different tasks women are 4/r [a-- fa- kin3 bu.ht ka.to L a-rt
F
meetings expected to do? How do you I

feel about it? What can you ,l

say about it?
J,,,/ nr3a'- Yon s F"{ iw lan ,1 n3 knbrub,v i -
5, Came starts by singing Pafticipants' answers may Yo F_
" Waray-W aray" while gro u p [J b'
mzrreilnr
dances around. When the last iba-iba
word PAG-ASA is shouted,
J r.i lo ol rytnini4e unbay ta-
madali/mahirap lrn r\ ^Y
rnani Kqw
facilitator yells: "PAO-ASA ang nakakapagod ('Wl F
Babaeng Naglu|Ltto," hindi binabayaran fr I

) F, tlz: lt1
l'''*'\
II. PERSONAL STIAKING: other , Lay the PaPer in front
of each owner and hold the
Give them some tirne to finist
the drawing (5-4 minutes).

AKO, II{AW. TAYO 5.

pencil well.

Ask them to concentrate on

Stop the drawing and ask the
participants to look at their
each other's face and try to work. Are the prominent

t hr. A. BLIND discover prominent features.

Each one begins to draw the
other's face without looking at -
D.
features there?

Now, ask the palticipants this

The succeeding exercises
CONTOI.JK her paper and without lifting time to finish and draw the
the pencil, such that the lines final touches so that the
allow the participants to lmow DKAWING are connected. Qive them drawing becomes a neEu
each other deeper. The picture of their partner.
facilitator stresses alnong the this tip: as the eyes follow the
participants the importance (5 mins.) contour of the face, the hand
should move in the same 6. End by asking the pairs to
of sharing their personal direction that the eyes take. shake each others hands.
perspective as a woman, Objectives:
especially in Exercise 2, to
make their encounter more l. Introduce an approach to
rneaningful. The notes gathered drawing and mi nimize
here serve as referratr points apprehensions about not
for the succeeding being able to draw.
modules.
2. Encourage participants to look
onHuw,46
NAGI<ANYA- KANvA stLANo
One major question that straight into each other's eyes,
hoping that this will lead to
-,Ar HAN6 I4ALII((
can be asked is: rvhat KINOKOPYAU
important discovery did you more relaxed and comfortable AN6 MUKHA NITO'" AN6 MUKH'
notice about lives of women feeling about each other. vro!'
here?
Materials:
The games and exercises
for personal sharing include Bond paper
the following: ?encil or crayola

o Blind Contour Drawing Procedure:

(5 mins.)
o Five Finger Sharing l. Give each participant a piece
( I O mins.) of paper and a pencil or
o Urbana at Felisa Small crayola. Ask her to find a
Croup Sharing partner.
(5O rnins. )
o Plenary and Synthesis 2. Ask participants to sit
(15 mins.) comfortably facing each
B. FIVE FINGEKS OF IIIY LIFE C. SMALL GKOI.JP STNAKING '
I]RBAIVA AT FELISA
(lO mins.) television progzuns watched,
songs), idiosyncracies as a
Objectives: child (5O mins.) 4, Each small goup decides
which pair wiil share first or
l. Cet to know more about each Ot{ectives: any pair may volunteer.
Education - schooling,
other, unforgettable experiences in
school | . Deepen and intern alize the :'""|#.H.'I"ff:#,1"
2. Appreciate each other's understanding of one's
partner. holding B by the
visions and perspectives. Career - work, habits, turning
shoulder
points, strengths, weaknesses '2. Open windows of ourselves to B holds her picture
Materials:
a grouP of friends. drawn by A.
[,ove - meaningful relationships,
A shares her discoveries
Pencil and paper (the back of your friends, others
picture drawn during previous Itlaterials: about B by speaking in
the first person. "l am B,
exercise) Vision - ambition, life perspective 'l'he drawings in the Preceding That's my picturQ..."
and goals, beliefs, etc. (share FIVE FINGERS
Procedure: cxercise
DISCOVERY)
3. The listener may write down
Procedwe: When A is finished
I . Ask the pafticipants to have notes on the hand drawn by
talking about B, B can
their pictures drawn by their the pantner. Facilitator gives
respective partners. At the I O minutes for whole partner
I . Divide the gouP into 4-5- Pairs clarify, deepen or conect
per subgrouP. some of the things
back of their pictures, ask sharing.
shared by A about
pafticipants to trace their own
hand. Label each finger uts End by grving each other a 2. Ask each subgrouP to form a herself,
small circle and sit on the Then its B's turn to talk
shown in the illustration. five ('Appearl"l left and a five about A, B talking as if
right. floor. Pairs should sit beside
each other. she were A.
2. Each one begins to share the Ay.? LYDIA,
points mentioned.
/ AKO AN6 5. Cive a short introduction
AKO SI B.
IYO NG
about URBAIYA AT FELISAz \
Family - background, childhood KOUSENSYA IPINANGANAK
(games played, movies/ D APAT
Two friends during the NA Po AKoN6 }Po, sHY
MALIIT Spanish time, who wrote each MAHIYAIN TALAGA. PO TALAGA
LAN6 NA other often about good AKO. ETO t
KAl,,{Ay manners and dayto-day Po AN6 PIc
relations with peoPle. Their ko ol
SA LIY..OD ?o LAMANG N6
tNYaNG PHoto t- DRAr{tN6 letters becam e a basis for a
A NG tNvoN6 l(AMAy book on good manners and
FltUDt Po 6nrutfo y'-' right conduct.
KAt461 ,
d
 IIT. EXPECTATIONS
crilEcK
I hr. The activities for the
Expectations Check module
include:
The Expectations Check
Module is an impoftant beginning o Qroup Sharing
( l5 mins.)
lrlrase of the workshop since this
wlll be the objective spine of the o Symbols to installation
worlshop. The insights and ideas (15 mins.)
llathered here will help set the o Facilitators/Staff answer to
Ione of the different processes to Expectation
lre used in the workshop. The (lO mins.)
O Orientation to the workshop
PLENAKY AND SYNTTilESIS: itssessment sessions of the
lacilitating team can always refer to (5 mins.)
llre items which surfaced in the O Attitude Setting
oxpectations check. (lO mins.)
(15 mins.) - Whose experience struck You
most? Positively or negativelY?
O Responsible Teams
()lrjectives: (5 mins.)
Procedure: why?
I . Surface the paticipants' goals Procedure:
ffier all the pairs in the small Matsials:
goup have finished their sharing, and expectations.
l. Palticipants keep their small
lgoup now tries to see Pentel pen , crayola, crayPas, water '). group as in the preceding
commonalities and differences in color, Manila paper Per gouP Synthesize these goals and
expectations using the exercise.
the lives of the members. The
group then lists thenr down for the A. GKOUP S]IARING ori entati on, organ ization,
aftistic framework. 2, Facilitator gives out questions
next activity. for expectations:
( l5 mins")
Among the questions which .1. Compare their expectations
Objectives: vis-a-vis the workshop o What do you expect to
they may ?nsw€r: get/learn from this
objectives.
workshop?
- What are the things that the
l. Share each other's o What can you give/share
expectatiotts. t1 Set the pafticipants' attitude
pafticipants share in common? towards openness, learning to this workshop?
What events or experiences are and discovery. What do you expect from
2. Find commonalities and the facilitators? From
conunon to most members of the
differences from surfaced your co-pafticipants?
group? What can you say about
expectations.
that?
 What are your personal
thoughts concerning
space, representing or expressing
a thought, emotion/sentiment,
C. FACILITATORS I STAFF
women's issues. subject or theme, ANSWERSTO EXPECTATION
5. Qroup spells out their Materials:
individual answers to the Objectives of Workshop/ objectives of pafticipants.
above questions. Since this Colored paper, bond paper, Schedule Point out similarities and
activity is self-facilitating, one crayola, other found objects differences.
of the goup members can act ( I O mins.)
as facilitator and another Procedure: Present the course oufline.
member as recorder or Objective:
secretary, -
D. Present workshop schedule.
l. Reflect the syntheses of Know the workshop objectives,
personal sharings and goal The schedule, supposedly for
Group synthesizes their course outline and schedule. 5 days can be extende d to 4
sharing by looking at setting into colorful symbolic
representations, usi ng days to acconunodate the
corunonalities and Procedure: time needed for creative
differences and making final coloring and drawing
materials as well as found activities.
statements about the fFoups' l. Qroup participants'
goals and expectations. objects. expectations using 6. You may also stretch the
orientational, artistic and above schedule to a 4-d*
2. Create short improvisations organ ization al fram e work.
which will surface groups' Iive-in or a S-day live-out
sharing. Facilitator gives them workshop prosfam depending
B. SYMBOLS TO time to create their aft
'2.
Present workshop obj ectives
written in lvlanila paper.
on the needs of the
participants.
INSTALLATION installation.
.5 Compue these objectives vis-
3. In the Plenary Session, a-vis synthesized
( l5 mins.) share visuals and
i m provisation s credted,
Objective: representing a summation Ex.: (lF LIVE-OUT) (f F LtvE-tN)
of personal sharing. Each 7:00 Breakfast
Visual ize subgroup's expectati ons group can use 5 to 7 8:00 Morning Exercise
and goals through an art minutes.
Ex. 8:00 Morning Exercise & Praise
installation. & Praise 8:30 Session 1
8:30 Session 1 9:45 Break
An aft installation is an aftistic
4 ' After the group sharing, 9:45 Break 10:00 Session 2
composition or zurangement of
provide 5 minutes for 10:00 Session Z 12:00 Lunch
surfacing of insights, feelings 12:00 Break
two dimensional as well as three and learning points from the Siesta Time . 2:00 Session 3
dimensional objects in a given palticipants. 1:30 Session 3 4:00 Break
3:30 - Break 4:15 Session 4
3:45 Session 4 6:00 Break
4:45 - Recap of the Day 7:00 Dinner
5:00 - END of Day 8:00 Session 5
9:30 Recap Activity
10:00 Taps
D. ORIENTATION E. ATTITI.JDE .1 Create something out of the
paper which you want to bring
F. RESPONSIBLE
TO THE SETTING with you to make the TEAMS
workshop Journ ey" more
WOMEN'S meaningful and successful.
(lO mins.)
WORI{SHOP tl Place your objects in the boat
(5 mins.)

Objective: and tell in one or two Objective:

(5 rnins.) sentences why you brought
Set attitudes that will help make that object. Create responsible teams
Objectives: the workshop successful. which will help out in the day-to-
day needs of the workshop.
l. Know the background and A. ANG BARTTO ll. WOKKSHOP TKTANGLE
ration ale of the workshop. Responsible Team (RT) l.
Materials: Explain the relationship of Program Committee for giving
Relate to the pafticipants the facilitator and participants . ? warm-up activities and
events that lead to this Pieces of bond paper learns frorn F, F learns from ?, assemblying pafticipants on time.
workshop, as well as to Ps learn from each other.
introduce the people involved. Procedure: Responsible Tearn (RT) 2.
Environ mental Comrnittee that
l. Make a big paper boat and Put Aro RtN ,r takes care of the cleanliness of the
this inside the big circle. session hall as well as of the
AtrO SALI Drf o
material needs of the workshop.
2. Cive each participant a piece INRN MATUTO
of paper.
truYo KnVo -t uTo
Responsible Team (RT) 5.
I,IN AKIN. "Uri an" committees that handles
I
l
the daily evaluation of the
Gusro Ko NG workshop activities and processes.
ITO AY N ILAMUK o5
,1
,r\
{b

. INFo RM ATIo N
J{

AT
\
!,.

NA PAPE L PARAN G
L"--
f
ENTERTNIN MENT
BRro. DAH tL Gu Sr o ,
KO MAG IN6 MATATAG.
t

l,
I

hxo Gn wn Nrro
) w o RKsrto F PA R4
TuRo M6A BA6Ay_ BA6Ay
rNyo ... pARA TUTo KAyo.
PERo AKo auTb RtN
t
Br.eqy - BAGA' MULA
lNyo (HnwA NAMAN
AKo rNyC )
 Theme: Lipunan - Panlalaki-
Pambabae
A. TTIEME:
( lO mins.)
Feedback Synthesis
SARILI
(lO mins.)
(5O mins.)
Theme: Kultura - Fantasya
ni EBA Pre-exercise:
(5O mins.)
Kasi Babae IIong:IIong
(SO-45 mins.)
Objectives:
"Wltat is a Boy?
What is a GirIT' l. Get more acquainted with one
(50-45 mins.) another in a light and fun way,

fV. SARTLI, LEWN, Short Recap

(50-45 mins.) Be aware of one's body and
its biological difference with
KULTURA 'Jl ps for Facilitation that of a man.

ln the process of facilitation, Procedure:

create an atmosphere of trust
The succeeding exercises Objectives (whatever is shared here, l. Form a big circle. Sit on the
focus on the self, society and especially the participants' floor.
culture which are dominant factors l. Surface the participants' deepest secrets, remains only
in gender oppression (women perception of gender. in this session) so that partici- 2. Facilitator starts by saying
being boxed in definite roles thus, pants get motivated to give of "Concentrate and follow my
limiting their potential for growth). 2. Discover the mezrning of themselves and to share their words not my action. Touch
Surface the above ideas. During "Cender is Cultural,o, innermost feelings and the part of the body I call out
the feedback sessions elicit desires. and not that one which I
pafticipants discoveries, ideas, touch."
emotions, experiences, and Be more animated in your
insights. RI.JN DOWN OF EXERCISE-S : facilitation. Motivate partici- 3, Facilitator starts "ilong-ilong"
pants to give more feelings, (several times, touching the
The process involved is action O Theme: Sarili dialogu€, movements espe- nose) and then says -mata"
through activities. Reflection is cially in the creative drama (or any other paft of the body)
through feedback and synthesis. ?re-exercises - Ilong-Ilong portions. but not touching the paft she
However, the reflection can (lO mins.) says (e.9. if she says "mata"
graduate to action through what Touch body pafts Encourage participants to she may touch the ear
they intend or plan to do after their (lO mins.) translate their reflections to instead).
discoveries. [€t them surface Short feedback actlon. [€t them surface plans
these plans or intentions. (lO mins.) or Intentions, such as drama-
tlzatlon of select experlences.
4. Those who touch the part of What do you think €ue the 1 llach gfoup is given a pentel Objective:
the body being touched by the reasons behind these
J)en.
facilitator instead of the one statements (of discoveries)? Discover how culture influences
being called out will become When facilitator says "Cro" one's perception of gender.
the facilitator or IT. l'layer No. I writes a trait or
role or a{ective, passes the Materials:
fips for Facilitation B" THEME: 1>entel pen to Player No.2 who
writes another, passes it on to Copies of "Fantasya ni Eba,"
O Extend the game by asking LIPUNAN l'layer No.5 and so on down (See Apendix 5, pp. 125-124)
the pafticipants to touch that I he line.
paft of the body which: Procedure:
(5O mins.) fl After the game, let paltici-
- they like most/don't like g>ants sit down and analyze l. Give each pafticipant a copy
(group according to same Panlalake - Pambabae t heir answers. Facilitator of Fantasya ni Eba,
body parts) writes "Panlalake" under "Pam-
- they often touch (group Objective: I>abae" colurnn. Ask which ad- 2, l-et each participant read a
accordingly) paft until everybody has read
- .lectives or attributes can apply
they seldom touch (group Realize how we as part of society lo both men and women. at least one part.
accordingly) differentiate gender roles.
- they have not touched fr Analyze the result. Maybe all 5. Lrct them reflect on what they
(group accorciingly) Materials: words will be crossed out read.
- is in pain (group cxcept the biological dif-
accordingly) Manila paper, pentel pens (2) f erence and words which con- 4, Lret them surface their feel-
rrote relationship (e.g. sister, ings, insights, etc... Facilitator
Feedback Gathering Procedure: l>rother, mother, father, etc). may ask "What do you think is
(l O mins.)
said about women"?
l. Divide the pafticipants into / Now ask:
Ask the participants: two groups. .. What then is the difference Kasi Babae
l>etween a man and woman?
- What did you discover about 2. trach group forms a parallel What then is common to both (45 min.)
yourself? line in front of a Manila paper. of them?
Objective:
Mga Katangian Mga Katangian
t ra its/ro e s/adj ecti ves
I

ng Babae
tra its/ro e s/adj ecti ves
I

ng Lalake
C. THEME: Bring up the different roles
designated to women.
KWTURA
Procedure:
( I hr. & 15 mins.) I. I.et the participants stand
side by side, keeping a
l'\tttlasya ni Eba comfoftable space not so n eN
nor so far from each oth er (2 -
1,1( ) rrrllrs. )
arns length apart) .
2, Motivate them to think of their
past (Kahapon), the things D. WHATIS V. SHOKT RECAP
A BOY?
they did -kasi babae sila."

Iet them select one action or WHATIS OF DAY I

experience. Move this with a
dialogue. Iet everybody move A GIRL? Questions to be asked:
and deliver a dialogue at the
szune time.
30-45 mins. O Which activity did You eqioy
most?
(45 mins.)
()f{ectives: O Which activitY gave You a new
Shout 'freezel"; tap one Objective:
learning?
pafticipant and say "Action!
t'rovide recaP activitY for DaY l.
O Which activitY helPed You to
Dialogl trreezel" Tap another discover Yourself?
Synthesize all the learnings and
one until everybody is given a discoveries from the previous A. Quick Keactions
O Which activitY made You
chance to show her Kahapon, appreciate other PeoPle?
activities.
O What factors facilitated Your
lret them think of the present Objective: learning?
Materials:
(Ngayon). Follow sarne
Surface most imPortant learnings
O What factors hindered Your
process as above. 'What is a Boy? What is a Cirl?" learning?
of the first day.
Appropriate background music.
Think of tomorrow -Bukas. The questions are answered
Repeat steps 5 and 4. Materials: one at a time,
Procedure:
7. I'et each pafticipant show her Written Flow Chaft 5. Ask particiPants to share their
Kahapon, Ngayon at Bukas in
l. Facilitator puts on "What is a of Activities of DaY I answers with nulnbers of their
Boy? What is a Cirl?" slides Questions written on PaPer'
that order. subgrouPs, thus discovering
with background music.
similarities and differences.
B. Provide short feedback I'rocedure:
gathering.
2. The lFoup watches slides
4. The one asking question will
silently. I . Ask the grouP to jog in circle. now point to a gouP and the
What common experiences do Shout 'Freezel" and ask them gouP Pointed out shouts,
we share? to grouP themselves mimes, or acts out their
What can you say about according to a glven nutnber answers. Call out all small
women in the course of time? of peoPle. TheY then form grouPs.
smaller circles.
5. Repeat StePs I to 4 for all
'2 The one without a gouP will grouPs.
be given a piece of PaPer
where a question is written. After asking all the questions,
Then she reads the question. present the agenda for DaY I
and give a short sYnthesis of
the day.
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brings to the surface the various structures that
lll"R-;r''i'
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dictate the role of women. It also focuses on the
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O >:CY*i critical analysis of these structures. The facilitator,
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therefore, should bring up the following structures

clearly during Feedback Gathering and Synthesis:
o Family, Peers, ?lace of work;
o Education;
o Church and
o Media.

The facilitator must have a good grasp of these

structures.
Use mainly dramatic improvisation and other
creative activities. The series of activities for the
second half of the day' s module are so related that
the first exercise graduates to the next. This whole
chunk may take the rest of the morning.
Though the output should give more
'i<.ut fj=
i .Ei1 *;dsttll*:'l
I =

O.i-l
impottance on tl^e content, the facilitator should
also draw attention to the artistic forms used
through incidental pointers. Content and artistry,
.Fj
0.
aft,erall, can blend well and the groups should strive
,O for this combination.
a:. !^.b bJ
J affrflroliferation
EffiFrol lif^*^+i^- *a^^1-,
treaty, raise -^i^^: r.- '--raflffillfuH
\
_"_ _t|ll
I OBJBCTIVES FOR TTIE DAY:
h '?'
S ;^--^.ts ostsosts
bj l. Diagnose how participants perceive and react to
Hlr
F!
- -snr
irdo
r -^a lr different woman characters and situations.
E tt W"s"ffi'*on'*Jl',;;r.-!d
fi
!F
Meil rrr ,
2. Provide a venue for'the participants to discover
the various roles of women and analyze how
,o- bel Urtlt.rv,hai- qia",^dt*"-*o' l-.,w
man
structures affect or dictate such roles.
Y t:'i''
a
"#ih.:t:);
 A. LIMBEKING EXEKCISE
OK A PTIYSICAL GAME
(5O mins.) Warm-up:
Standing Position
(Dbf ectlve:
l. IIEAD/NECK. Thrust
f 'rr:l)are the participants physically forward, sideward, bacls,trard,
f or I he activities of the day. rotate.

l'r'oc€dure: 2. SHOULDERS. Thrust forward,

backurard, up and down.
| , Ask the participants to form a
blg circle, providing adequate 3. ARMS. Thrust forward, rotate
space clearance between each simultaneously clockwise,
other for sideward movements then the opposite direction.
of arms and legs.
4, ELBOWS. Extend Eums to
,
a. Demonstrate each exercise the sides in T-position, then
as you call out the bend elbows with palms uP,
instructions. facing inward towards the
face; then palms facing front
5 Ask the participants to do the while back of hands face the

I. OPENING ACTIVITIES
exercise all together. torso.

TAMA NA !
I BANG

Sl6 E llr
50 mins. Usually physical, these
activities will awaken the
EXERCISES
NAMAN.
FA laa

+5...t+6.-.
a;

body and senses of the t\ 11 ...

The opening activities include: pafticipants to prepare for the trg... +9.., jo...
day's activities.
O Limbering Exercise or a
Physical Game A very short recap of
O Introduction to Day 2 Day I and a Sharing of the
agenda for Day 2 will help
The opening activities of each pafticipants see in a wholistic
day usually provides the needed way the relationship between
tone/mood or attitude through the various activities arrcl
spirit and body building exercises. exercises. t:;),' it'/
t'i

t/
Y
\
(:l ;i /J
rl t/Mt'lNr'i .fA, K
5. UPPtrR TRU|IK. TWist upper them left and right. Rotate the
trunk by bending from the ankles.
waist flat forward and then
bounce. Bend forward from 9. JUMPINQ JACK. Jump to
waist up and touch the floor spread legs, simultaneously
with hands (l count), then clapping outstretched arms
bounce trunk between thighs overhead.
(2 counts).
lo. STATIONARY RUN. Jog in
LOWER TRUIYK. Rotate hips in place with the legs alternately
small and big circles, cloclr- kicking forward then
wise then counterclockwise. backward, left then right.

7. KNELS. Put knees together,

bend a little then rotate them
clockwise and then counter- II. STRUCTUKES
clockwise... Open legs and
bending the knees a little
B. INTRODUCTION THAT DICTATE
rotate each outward... Put TO DAY 2
back knees together then
squat, resting the head on the
TTIE ROLE OF WOMEN
knees. With head resting on TAI{ING OFF FROM DAY I
the knees, slowly straighten
up legs... Put knees together
then squat clasping hands at
With the pafticipants, recall
that yesterday, we looked into
IUGA TAUNAIYG BABAE
the back of the ankles and ourselves as women. Today, tell
rest head on the knees; then them that we will widen our exercises that end with a
slowly straighten up. vision. We will meet other women 2 hrs. synthesis of discoveries.
as well as know the structures that
ANKLF-,.S. "Rockthe boat" by define our roles in society and, As a prelude to the The activities are as follows:
pointing toes and then flexing therefore, affect our lives. ldentification of the structures
that dictate the roles of womer, ? O Pre-Exercise t "Damitan tvlo
recognition of the different types Ako"
of women characters is (5O mins.)
lmperative, The participants o Reaction through Sound,
shall, therefore, mimic or Movement and Dialogue
lmitate various women (5O mins.)
character types most familiar o Deepening: Isang Araw Sa
to them and thereafter re-enact Buhay n9,,.
sltuations involving these (4O mins,)
characters. The pafticipants o Feedback Cathering and
shall do these through Synthesis
rneartingful games art<l (2O mins.)
A. PKE-EXERCISE: which they can use for cos-
tume improvisation. Remem-
B. KEACTION
DAPTITAN IITO AKO ber to have at least the satne TTilKOUGTI
number and kind of objects in
each box (4 boxes). SOI.JND.
(5O mins.)
Some characters which can be Call out women characters
MOVEMENT
Objective: called out: and ask the goups to dress
up their respective models to
AND
Identify different woman Biblical Character represent the women charac- DIALOGI.JE
characters through costume Mary ters you narned/called by the
improvisations and dialogue Eve facilitator. The model poses
interaction. Slav'e suggestive of the character (5O mins.)
Magdalene she is depicting. (e.g. kneel-
Materials: ing, sitting, praylng, mourning, Objective:
Historical Character working, etc.). The nearest
4 sets of materials for costume Gabriela Silang picture of the character to the Surface stereotype reactions to
improvisations (towel, curtairs, Katulong ng Prayle originat will be declared "the various situations.
blanket, books, sticks, shoes, Beata woman" by the panel of
bags, umbrella, hats, clothing Asawa ng Magsasaka judges. Materials:
materials, jackets, broom, boxes,
or any material which can be used) Go ntem po ra ry cha racte r 5. Expand the exercise and Suggested characters in pieces of
Manggagawa proceed as follows. paPer
Procedure: Guro
Procedure:
Secretary I ). The other members of
l. Divide the gfoup into 4 small Cory Aquino the goup poftray l. Using the szune Spouping as
subgroups. Cive each characters around the in the pre-exercise let each
subgroup a particular space model to better project group draw out a piece of
where they could see the group). Cet another one from the essence of the main paper from zrrnong the rolled
others, each group to be part of the character or model. Ask pieces of paper prePzued by
panel ofjudges. the characters to pose. the facilitator. Some sugges-
lr,t the tFoups select their tions which could be written
own models ( I for each 3. Cive each goup a box of old 21. Tap each 'frozen" in these pieces of paper:
clothes, sticks, brooms, hats, character (except the
O AYAN ! bags, shoes and other objects model). When tapped, a - Woman worker harassed
\ oooM character says a line - Battered housewife
LYDIA MAKO NsENSYA
2 ' '\ expressing her reaction Hostess
,

KN NA. UtsOS NA
II ntto
ANO en7
nno en
Bq 7 ',) AY;
AY,t KAMUKHA
Rape victim
M Af. --DECIDE
( MA6
mA6 I\E r. rhc
DEctDE to the character model
t(AYo jI
lTo t tG KRAFT
PAPER. t NA rcAyo
\W
L J St MARY
TEKA...
or to the situation Commercial model
Old woman begging
presented in the picture.
\ PhRA KANI, Pregnant mother
)A! PMYI€ 5). Repeat the earlier steps 2 Devoted lady in prayer
Ur fau?
YAtn: to 5 times. Woman - farmer
t i
I

J
(
rI
\- /br
2. Each group sculpts and
dresses up their model to
Procedure: characters' thoughts through
words and dialogues. Tell
D. FEEDBACK
represent the character which Facilitator prepares small them they can talk to GATHEKING
pieces of rolled paper. On themselves.
the group drew-out. The
model now tries to each paper a specific work
AND
concentrate and compose place is written: 5 At some points, call out
"Freeze." Then tap someone
SYNTHESIS
some lines coming from the
thoughts and experiences - home to act out her character and
(a la monologue) of the - school deliver her lines. Then ask the (2O mins.)
character they are poftraying. - adveftising actress to freeze.
agencies In gathering feedback frorn
3. The whole assembly (i. Tap another one and then the participants to lead them to a
surTounds the four characters. office another until everyone has synthesis of the preceding
trach character delivers her ch urch demonstrated her activitY and activities, ask the following
short monologue. After hospital delivered her lines. q uestions:
each character's monologue,
pafticipants react through factory 7 ' Expand the exercise. L€t each - How did you feel about the
movement, sound, dialogue, television character try to find ways to whole exercise?
field, etc... relate to other characters. - What were your di.scoveries?
This will lead to building uP - How Cid your character react
2. Ask each pafticipant to draw a scene. given different situations? Why?
C. DEEPENIIIIG: out a piece of rolled paper.
She creates the character B. Again let these be a freeze-
- What dictated such reactions or
roles?
ISAIYG ARAW based on the place of work action moment. As everybodY
freezes, point out and ask
written on the paper she Focus oI7:
sA BUNAY draws out. Participant dresses each member to enact her
scene.
O Resources of women
up like this character. Cather O Structures
some props that wilf help her O Human Dignity
define and act out the 9. Repeat the process until each
(4O mins.) group has been given focus.
character better.
Objective: 5. Facilitator now gives a l O. End the exercise with a grouP-
movement exercise involving centering activity. Cive them
ldentify the different structures the character. Pafticipants do a Relaxation Exercise: inhale,
that dictate the role of women. the various actions and exhale , relax.
activities of their respective
Materials: characters at different hours
of the day, from waking up
Workplaces written on pieces of to sleeping.
paPer
As needed by pafticipants Motivate pafticipants to talk as
they do their characters'
activities. Ventilate their
ru. ANALYSIS OF THE A. PARAIVIIIIANNG.OO
STRUCTURES (5O mins.) Devotion
Paramihan ng Church Kitual
0lrjectives:
The following activities are 2. Start with one (e.g.
It is important that the
devised to bring out and present facilitators fully discuss this l. Bring out spontaneously as commercial) given. As
creatively the participants' analysis module and make sure many answers to specific you point out a group, the
of the structures that dictate the stimulus which rePresent the group gives their commercial
assumptions for possible jingle at the count of 5. lf theY
role of wofil€n: questions or guidance needed to different structures.
fail to do so they are
make this module productive and
O Pre-Exercise: Paramihan ng.,, relevant are clarified. Materials to
,2,
Buif d a team through fun /PlaY eliminated. No repetition of
(2O mins.) activities. commercials is allowed. The
be used like the textbooks and
O Study Croups commercial ads should be given
one who repeats is
( I hour & 50 mins.) I'rocedure: eliminated. The last to staY
careful study and discussion
O Plenary Session longest is the winner. Then
before giving the exercise.
( l5 mins.) l. Using the same grouPing proceed to the other
O Clearing l-louse Portion Give instructions one at a ask each grouP to give pznamihan items.
( l5 mins.) time. short instant improvisations
of "paramihan n9..." 3, Cather short feedbacks. Vvhat
. (complete with movement is your personal view about
This whole module needs If the participants have to the different contents
constant monitoring on the part discuss and bring up important and dialogue).
of the facilitator. The initial (commercial, news headline,
points that need to be dram atized,
game (Paramihan) ushers the Parami han ng Commerci al devotion and rituals) of our
give the instructions on the
mood for creation. This also Paramihan ng tleadl ines exercise? trlicit a little
discussion first. When they have
serves as a pre-exercise for Paramihan ng Panalangin or discussion.
surfaced important points then
the required creative sharing of instruct them about drarpatic
insights during the study group improvisation. Keep them KUSkoS ?t6A I CAN
session. working within a time frame. FATAK! FEEL ITI
The last module may take the
During the study groups whole afternoon.
session facilitators may divide V'A:.-I!
among themselves which groups ANC ?A4
they would closely monitor and
motivate.

,,' Blt-ts NAI<A\

{ r*nltANr; FT*;,
NA TA>'(.,?
B. STUDY GKOI.JPS ,2
PI,ACE OF'WORK society and vis-a-vis
womanhood?
o Who are the women in
(l hour & 50 mins.) statements which summ arize our place of work? D. MEDIA
their group findings and o What can you say about
Objectives: analysis. ( l5 mins. )
them? o Cet newspapers and
o How does being a magazines . [,ook at
Analyze how structures affect/ 5. Each group improvises woman affect their hour- the headlines and the
dictate the role of women. creatively and appropriately to-hour existence? adveftisements.
in presenting their statements. o How does this affect their What can you say about
2, Form ulate statements to (5O mins.) advancement? them?
summari ze findings. o How do the media
E,g.: Subgroup on Education 5. EDUCATION contribute to the
3. Share these statements can present through dictation of women's role
through a most appropri ate, poetry-drama; Book Analysis in society?
creative way, Media group, through o What do you feel about
lampoon of films and o Get a book and look for that?
Materials: commercials. Or they pafts of the book
may create their own discriminatory to
Text books on any of the following: commercials through women? Why?
Philippi ne Culture, Literature,
Prose and Poetry, Fairy tales, etc.
salin-awit (translation of
songs)
o Share stories, myths,
fairy tales learned at
C. PLENAKY
There are so many waysl home or in school that SESSION.
Tabloids, newspapers, m agazines developed consciously or
STUDY GROUPS ON ThItr F'OUR subconsciously gender - SHAIIING OF
Procedure: conditioning.
STRUCTURES:
o How do these text affect
STATEITIENTS
I . Divide the participants into I. F'AMILY /PtrER: women's role? AND
four subgroups. l-et them Ang lrlga Babae sa iting o What can you say about
analyze through group Paligid women and education'? PKODUCTION
discussion the etructure and
questions assigned to them.
O Who are the women in
our house? 4, THE CHURCH
WER
(45 mins. ) Among our peers or
friends? O Analyze the various (15 mins.)
Note: o What can you say about church practices
Everybody must participate them? prayers, devotions, and The Plenary Session is the
actively in the discussion. o How does being a rituals. How do they visual climax of the results of the
Share your (facilitator's) woman affect their hour- promote discrimi nation studies. Make this alive and
insights as you find the need. to-hour existence against women? exciting. Facilltator can act AS
o What can you say about o What can you say about emcee-an notator.
2, The subgroups proceed to the womalr, I lre home the Church's role in
forrnulate one or two atrcl the f:trttily'/
 f), CLEARING HOUSE PORTION:
HANGTNG QUnsTroNs,
ANSWEKS. COMMENTS FROIIT
GROUP TO GKOUP
(15 rnins.) or answer to the questions
raised.
In the Clearing House
portion, groups can give insights, t€t important statements
comments on their group's or come from the participants. Help
other groups' output. Hanging draw out these statements from
questions could be written and them. And finally, in all
dropped in a box and drawn out so
that everybody has her own idea
instances, enjoy the more creative
sem i-academic exercise. IV. RECAY OF DAY 2
AN6 €ALINA 30 mins. impoftant learn ings they
learned in Day 2.
MA54yA ITO NKi 6F{UFT' ()b jectives: 2. Instruct them to paste their
CAY! I-,JYO t<ANlPra'/ paper on the board and put
5-q I . ldentify the most and least together the similar ones.
impoftant learnings of the Then point out the item
day. that constitutes the biggest
learning point among the
.t.. ?repare oneself for the pafticipants, then the least.
succeeding activities.
3, Segue from these l-e,arning
Fl:r teri al s: Points for topics in DAY 2 to
|_Y/"4
f nM,a.sAtv'ta
_tr
sAplA i.ii^lPl | r rwof Activities for DAY 2 and
'f
DAY 5 Flow of Activities.
Cive them extra words on
f. KAyA lNiA," l)n Y 5. Bond paper, pentel pens challenge and attitudes for
In'rrruA NAr'rrN AN6 i

| )t ('r'ayons. DAY 5.
AtYltNG t'{(;A LO?A,
TAW..sr Pt N{Ll
t'{AhrtrN YUNG
.r
tr\
rr v
\f
I't r)ced ure: End th,e session with a closing
V
d.'
a
9/ nl meditative activity
IVIAGANDA/ l:=:,
;6
r,J
| (iivc each pafli<-ipartl ;t pir:ce accompanied by soft m usic.
tl \l of lrzlIrt:r atr<l ;t lrrittlr:l ptt1l. Ask pafticipants to be in their
oo l-iGA |T'R+\,^ (
Aslt lltt:trt ltl wt ilr' lltl ttttlsl most relaxed position.
)Daty 3J is a synthesis of the previous workshop
processes and contents. lt focuses on CilANGE AND
TIIE WOMAN. The take-off point is the oppression/
repression experienced by womell. The need for
change to free the woman from oppression shall then
be emphasized.

The facilitator needs to be sensitive to the various

personal sharing, especially in the BREAKING OF
REPRESSIONS, tlandle this session with an open mind
and an objective hefi. Be supportive of the
participants as they share their problems. On the
other hand, the Body-Totrch activities and some
Ilealing processes need centering and special
motivation from the facilitator.
Finally, give emphasis on what the participants
can do after this workshop and how they can help
each other pursue women's issues.

OBJECTTVES FOR THE DAY

l. Guide the participants through the process of

identifying how the gender problem manifest in
their lives.
2. Guide them on what they can do to break the
cycle of gender subordination.
-,
J. Provide a tool for the participants to identify their
agenda for change.
tltl
rl
Ask the Person on one end of
.should avoid making general
st atements but allow participants the row to act as the leader'
Tetl her to start weaving
It> do so.
through her co-ParticiPants -
between them, E[ound them,
TINTANGLEPIENT
under their legs - qnfil she is
able to reach out for the hand
Objective: of the Person on the other
end of the row.
)eveloP sensitivity and a sense of
|
(:()operation and unitY. 3. Ask everyone to follow the
leader, keePing their hands
held together such that a
J'rocedure:
honendous tangle results'
l. t€t the ParticiPants stand side
Ask the PafticiPants to work

I. OPENING ACTIVITIES
by side in one row, each one
clasping a hand of the Person
next to her.
towards the objectives of the
game, which is to unravel tlte
snarl and end uP in a circle
without re-clasPing hands'
ANA KAla^*rz
A. LIIUBEKING This series of exercises
will help build trust and
EXEKCISES teamwork. Continuously motivate
pafticipants to stick to the rules of
Same as in Day 2 the game so that the games are
maximized,
( l5 mins.)
Croup Dynamics for the day
consist of the following activities:
O Entanglement
B. GKOUP o
( l5 mins. )

Trust Fall
DYNAMICS ( l5 mins.)

o Lifting and Rocking

(15 mins.)
( I hr.) o Feedback Cathering
(15 mins.)
Objective:
There can be only one
Make participants aware of feedbackgatheri ng session, but
the impoftance of team- make it more pafticipatory ancl lct
building to facilitate goup each pafticipant freely sharc their
process. self-discoveries. l'at.ilit :tt ol's

t
TKUST FALL Tell them to place one foot I,IFTING AND ROCKING 2. Ask a volunteer, someone
forward and the other who wants to be lifted and
Objective: behind. If they do this, they (.THIS EXERCISE MAY BE DONE TO rocked, to move to the center
can hold up quite a lot of I1ND THE PKECEDINC TRUST F'ALL of the circle. Tell her to fold
Develop a sense of trust among co- weight even if they Ne not ()R IT TV1AY BE TAKEN AS AN and interlock her alTns across
pafticipants. physically strong. INT I RELY SEPARATE trXtrRCISE. ) the chest, and to close her
eyes,
Procedure: 5. Ask the person at the center ObJective:
to start "falling." Tell everyone else to move uP
l. Form goups of 5 to 7 l)evelop a sense of trust. to the person at the center
pafticipants each. Ask the 6. Encourage the other and place their hands on her,
members of each group to participants to pass the center I'rocedure: holding her gentlY for a while.
stand in a circle and spread person around or across the Those particiPants of
the smaller ones among them circle, |. Form gouPs of 7 to 9 moderate strength should
evenly around the circle. particiPants each. Ask each merely stand directlY behind
7. Ask the pafticipants to grouP to form a circle and the the person at the center, while
Tell one person to move to increase the size of the circle members to keeP absolute the stronger ones should
the center and cross her arTns gradually as the game silence during the exercise. position themselves on either
in front of her chest.

3, Ask the person at the center

to close her eyes while
progresses; continue passing
the person for some time...
and then slowly reduce the
size of the circle. Tell ( xEg,A,x...
-l;il'ili;;);
keeping the body straight and pafticipants to end by holding
her ankles relaxed. Tell her the person again for awhile,
that she is supposed to begin and as they do, everybody
later by "falling and swaytng" hums softly.
to one side, feet and knees
straight together. The group End with 'Lifting and
member on that side where Rocking, " the exercise that
the center person "falls" will follows. (Optional)
prop her up back to center
position. There after, the Give everyone in the circle the
center person will sway to chance to become the center
another side, and then Person.
another, each time with a
member of the group lo. After the experience, sit
propping her up back to down together and let
center position. each pafticipant tell her
experience as center person
Instruct others in the circle and what she has noticed
to move up towards this about the others. Take about
person and hold her lightly ten minutes to sh:ur:
with their hands for a while. ex perien ces.
 side of her. The person at for awhile and then slowly
the center should relax and lower her (as she is being
yet keep her body fairly rocked) towards floor level.
straight. Be sure that while rocking she
is kept at a level position to
Instruct the participants to prevent her from tilting.
tip the person at the center Gradually slow down the
slowly backwards to lying rocking as floor is reached. I
:i
&
position, holding her When the person reaches
horizontally, with their hands the floor, she keeps still
and arms under her. The and does not realize that she
smaller ones behind her is lying on the floor.
cradle her head, while the Afterwards, ask suppofting
stronger ones on each side pafticipants to remove their
support the chest and back. hands from the body of the
Others have to hold up the woman slowly and gently.

5.
hips and legs.

Ask the pafticipants to begin

lrct her stay resting on the
floor undisturbed until
such time when she opens
II. CHANGE
rocking the person slowly
back and fofth, or around, as
her eyes.
RESOLUTION AND PLANNING
if rocking a baby, without 7, L,et as many pafticipants
moving their feet. Tell thenr experience the rocking.
to hum together softly as this The following exercises and The module consists of the
exercise is done. Continue After the experience, sit irctivities are action-oriented as following activities:
for a while. down together and let well as verbally and emotionally
each pafticipant tell her laden. The sensitivity of the A. "Tunggalian sa Buhay ng Babae"
lf the person at the center is experience as "center baby" lacilitator to make the exercises
not too big for the others, and what she noticed about tneaningful for all is necessary. O Pre-Exercise:
rock her at several levels. the others. Take about I O lle sensitive about breaking Points Samson and Delilah
trrom the original positior, minutes to share and handle these moments not (lO mins.)
ask the supporting experiences. Were there necessarily with words but more Out-Balancing
pafticipants to slowly lift her moments of fear and with comforting actions, [,et them (l O mins.)
up, until she rocks way above f eel that you're behind them in all
apprehensions? Why?
their heads (supported by What could be positive as lhese exercises. Reduce stress O Verbal Conflict
their hands stretched well as negative about llrrough breathing and toning down Jog freeze
(:xercises. ( l5 mins.)
overhead). Give the person at trust? How will you
the center a rock at that level personally reconcile this?. Verbal pairs
()lr.jective: (55 mins.)

lrk:rrtify the mcaniltsl of collflict B. Breaking Repression

:ut(l its differcttl t.y1rt:.s: plt.ysi<:ztl (l hour)
.ur(l vt:l'lral.
 C. Croup Healing Procedure: VNRBAL CONFLICT wherein they are in conflict.
'l ( l5 mins,) .fog-P'teeze Tetl them to express this
l. Divide the group into two. ( lO mins.) conflict through an exchange
D. I{eta plan of words,
(5O min.) Each goup agrees on the ()b.f ectives:
character to portray. The two 5. Tell them that as their
This module is memorable groups form 2lines facing I , Release through dialogue verbal exchange progresses,
both for the pafticipants and each other. m pro vizations various
I the whos, whats, wheres,
facilitator alike. Cany on! You're sltuations in conflict. whens, and whys of the
great! When the facilitator shouts: situation should develoP.
"Lightsl Cameral Action l" , the 'l , Develop sensitivitY through Remind whoever shall staft
two goups face each other llstening. to drop key words that will
with their corTesponding quickly suggest to her
A. TUNGGALIAN sound and action. l'rocedure: partner the situation that
she has in mind as well as
SA BUIIAY Pre-Exercise: | . Ask the gouP to form a circle
and maintain it as theYiog
their relationship. ExamPle:
When she asks 'Ate, bakit
OUT-BALANCING
NG BABAE (l O mins.) around the room' mo ginamit i ry saPatos ko?",
the actress immediatelY
Procedure: '2. After a round of ioggng, signal defines the relaticlnshiP
Objective: 'freezg," At random, choose between the characters
l. Divide the group by pairs, two or three PafticiPants to go engaged in the dialogue as
To make the pafticipants feel the members of which are more to the center and create well as the source of their
essense and sensation of physical or less equal in physical spontaneously a situation conflict.
conflict. strength.
?re-Exercise: 2, Ask the pairs to stand with
SAMSON AND DELILATI their feet close together,
(l O mins.) facing each other half a
meter apart. Tell them
Recall the story of Samson that their objective is to
and Delilah with the participants. try to push-outbalance their
?aitic'ipants shall then assign re'spective partners. In this
ch aracteristic movements and
game, a person shall be
sound for the characters Samson, considered outbalanced
Delilah and the Lion. The rule of when she moves or shifts
the game is like that one for Jack positon of even only one
en Poy: foot,
Samson beats the lion.
Lion beats Delilah. 5, Cive signal for the pairs to
Delilah wins over Samson. start pushing each other.
 Tell the actresses that they 4, lf a goup can't create a The following uue the issues 6. Encourage analysis of
don't have to resolve their situation, call them back at that may be written in the character, situation,
conflict in this exercise. once into the circle and tap rolled pieces of pap€r: development and resolutions
another pair. of conflict from listeners.
ffier the pair or group is . household economics
through with their verbal 5. If in some instances, some ' health czue Guide Questions:
exchange, call them back participants would like to join . division of labor
into the circle to join the in the improvization, allow o ehild rearing O How do you feel about the
rest in joggrng around them. . household different issues which
again. responsibilities surfaced during the verbal
VERBAL CONFLICT . kind of schooling for pairs?
6, Do this until everybody has Verbal Pairs children o What can you say about the
experienced the exercise. (5O mins.) . labor migration characters and situations
. how to spend a weekend which surfaced in the above
Facilitation fips: Objective: or a vacation exercise?
o rapid economic change tlow did the various conflicts
l. Don't give too much time for Identify gender problems which . friends, gangmates develop?
each goup to create a manifest in one's life, ' sex What resolutions were made
situation. or how did they end?
Procedure: 5 The pair decides who they are; o If you have time for yourself,
2. Constantly remind them where they dre; what they Ne what will you do?
to listen to cues that will l. Ask the pafticipants to get a arguing about, Allow no
help them develop the point paftner whom they haven't rehearsal but just a shott
or situation they want to been paired with yet. discussion.
PUrSUe.
2. Hand out rolled pieces of 4 Ask the pair to face each
B. BREAKING
5. Create an atmosphere of fun paper. Ask each pair to pick other and look at each other's REPKESSION
and treat this as a game. one. eyes. Motivate them to
develop tension so that their
arguments may be (l hr. & 50 mins.)
ANG AtrlAX Mo
F{INDI MO 6USrO logical, meani ngful and
PTNAPAKA|Nf MONG MO N6 dynamic. When the facilitator
PtNAtr.Al-o!' A\^/AYV shouts "Actionl Dialogl", a Objectives:
member of the pair stafts the
argument. The pair will only l. Share and reenact the most
stop their argument when theY re pre ssed/o p presse d gen der
feel they want to use physical situation one has
vlolence. All the pairs in the experienced.
$roups argue sim ultaneously.
2. Break one's repression by
t llt a circle, each pair now doing the things she planned
rlt:monstrates to the whole to do then through
grotrp their verbal corlflict. dramatization.
Procedure: After everybody in the goup ex periences whe re re<,nacted o Ano ang inyong discovery?
has shared her experience, and whose "rePressions were
Ask the pafticipants to go the group will now choose broken," o Oumaan ba ang inYong
to the person she is most only one oppressive situation. kalooban nang nadinig ninYo
comfoftable with. (Until (luide Questions: ang problema ng iba?
there are 5 women in the 5. This experience will be shown
strouP). in a short dramatic re- O Ano ang inyong naramdaman o Bakit mo nasabi na hindi ma-
enactment. The woman who noon nagsi-sharing? bigat o masyadong mabigatT
As an introduction for shared the experience will Noong nagPaPalabas na?
reflection, tell them that there portray herself but this time Nahihiya ba kaYo o biglang For synthesis, facilitator
are times in the life of a she has the chance to answer nabura ang hiraP ninYoT encourages pafticl Pants to
woman (as a wife, a mother, back or be able to explain break their rePressions. But
or a sister) when she herself to break the O Ano ang point ng exercise? this means trying and doing
experiences a non-physical repression. She can now do Bakit natin ginagawa ito? the breakaway in real life.
type of violence, a total the things she planned to do
oppression where she is then but was not able to do.
unable to answer back or Other members of the group
explain her side. will play other characters
involved in the situation.
Example:
"Yly husband always tells me 6. If time perrnits, they can do
that I should stay at home and two or three other re-
that I need not join enactments based on the
com m u n ity organ ization s. other women's experiences.
Dito na lang ako sa bahay at Go through the same process.
alagaan ko ang mga bata.., or
he says: ITindi mo naman 7. Before the group presentation,
kailangan ang mga yan -dito the facilitator tells the group
ka na lang sa bahay, mag- to "freeze". Facilitator
alaga ng mga bata. Sa kusina reminds them to concentrate
ka na lang tutal ang babae ay and motivates them to think
dapat sa bahay lamang, sa and feel as the characters
kusina at sa kama"' they are to portray.

3. Now ask them to recall B. During the plenary session,

an incident where they each gfoup presents their
were placed in a similar short improvization. After
situation. Share this to the everybody has presented thcir
other members of the shoft dramatic re-enactme nl s,
group. Add details like gather the group in a circk:
when, where, why and and encourage them to
how it happened and what surface how t hey feel,
she felt then. s[)et i:tll.y tltrlsr: wJt<).s(:
rl
i

I
E

I C. GROI.JP
HEALING
D.''NIAGAGAWA ilI. Plenary Sessions
NATIN!" PAGBABALIK
(TUETAPLAN)
(15 mins.) (Ke,entry)
Objectives: (45 mins.)

l. Affirm each other's strength. Objectives:

30 mins, they czul get inspiration from each
other.
2. Share one's realization after l. ldentify the system which
needs change. How do we go back (re- Agai n, congratulations I
the "Breaking of Repression"
activity. r:nter) to our place of work, familY,
2. Present an ideal situation or a Irome, communitY, etc. now that Objective:
Procedure: vision of an ideal system we have acquired a ner,v Pair of
which is non-sexist through t:yes? Plan concrete agenda for
l. Everybody goes back to her creati ve i mp rovizati on s. change in any of the following:
previous grouping. Coing back to realitY self, family, place of work,
Each individual gives her Materials: after an emotional high community, etc.
advice, wish or message of point in a workshoP needs
assurance to others. Pieces of paper, pentel pens, pr€paration. There is a need to Materials:
crayons rlraw out from the PafticiPants
2. The person being given where they are now, how Manila paper, Pentel Pens
"healing" or love messages Procedure: r:quipped their senses are and
shall say her realization or how they will re-enter the real Procedure:
what she wants to do. l. Each one is given a strip of world, carrying out what theY've
paper. Ask pafticipants to planned without stepPing on other l. Each palticiPant writes
write on that strip z "Kung lrcople's toes or shocking them. simultaeously her agenda for
magoon tayong gustong change on the manila PaPer
o o
baguhin na kalakaran bilang Again, sensitivitY to the pasted on the wall.
mga babae, ano ito?" partlcipants are needed now
8[[EN0sY r:specially if theY have to 2. Croup together similar
HEALING 2. Pafticipants paste similar rrpl>ly the new learnings in the real answers.
GOI NG ON answers under one column. w<lrld.
o 6
3. Synth esize the activitY bY
3. They then choose which The facilitator should insPire sharing WIIAT IS TO BE
column of resolutions most of llrr: 1>articipants to make their firm DONET Program for AdvoacY
them would like to carry out. r r:solve and devise ways bY which by Ms. Ellen Dionisio. (See
Appen dix 7 , PP l5l -154).
Each group presents an ideal
situation through drama, son(1,
poct r.y, r:l <,.
 fV. EVALUATION come up with visual-images of
the flow of topics and how
3. Cather them in a circle and
ask them to put their sheets
of paper at the center one at a
they are related to one big vi-
MODULE sion. Presenting the work-
shop through a visual image
time. While each one is doing
this, the person should say in
(e.9. a ship sailing) will helP one complete shott sentence
her feeling of growth.
I hr. participants view it in its total-
ity and not merely in
segments. When everybody is finished,
ask each one to look for
I

This final module aims to 2. Give them the Evaluation 4-5 people in the grouP in
provide a tool to evaluate the J-day Form (see Appendix 8, PP. whom they have discovered
workshop. 155-l4O). Cive them time to something new and likeable.
GUsTo K1TA EUlSWer. Ask them to go to their
Objectives: I(ASI MAG4LINE
KANC MAKINIE(
l. Evaluate the content and
methodologies used in the sAt$A l'Al-oNc
workshop. LUMIG.AVA
ANG trAM{UVA
MO/
2. Assess the participation of co-
pafticipants.
**
5. Confirrn one's gotvth as a
woman.

4, Affirm each other's strengths

and mimim ize weaknesses
discovered in the J-day
workshop.

Materials:
fl
Worlsshop Obj ective Chart
Day l-2-3 Flow of Activities
Evaluation Form susur.AT sAhTA MAGKITA
@oooYe: ?ATAvo uLt !
Procedure:

I , Present the workshop

objectives defined during the
first day. Present also the flow
of activities. Facilitator can
 ParU Thr@@
"chosen new friends" one be the mini-shiat-sus to rela.rr
one, each time holding the each other. After some
other person's hands, uls they time turn about and do
look into the person's eyes the sarne to the one in
and say 'I like you because... front.
I hope that,,,". The co'
pafticipant approached shall 6. In the sarne circle, this time
in turn give her own words of shoulder to shoulder: ask the
affirmations. participants to cross their
zums across their chests as
Co back to the circle after they hold each other's hands.
each participant has Sing - Pagbabago. After the
approached 4-S participants song raise hands and then
to get ready for the goup uums slowly, and turn around
massage. All turn right and and finally say "Coodbyel".
sit close to each other,
reaching the back of the
person in front. Staft with WOKKSIIOP ENDS.

AI,TERNATIVE
EXEKCISES

F
 THIS SECTION LISTS AND EXPLAINS THE
EXERCISES WHICH CAN BE USED AS
SUPPLEMENTARY OR ALTEKNATIVE
EXERCISES BASED ON THE FOLLOWING
TOPICS/ISSI.JES IN THE GENERAL 5-DAY
SYLLABUS:
I

Opening Activities
Getting to l{now You/Unfreezing Activities
Attitude Setting
Limbering Exercises
Gender is Cultural
Women & Structures
li $\ Change
i. ?4 Reflection & Evaluation
': lr\
a. J-
. -J/ SPECIAL FI.JNCTIONAL EXEKCISES
ARE ALSO SUGGESTED:
a Diagnostic Exercises
o Sensitivity 6r Centering Exercises
o lce Breakers
O Various Fora

Diagnostic exercises are given to gauge the

orientational or org anizational level of the group.
f\ Sensitivity & Centering exercises are given when
N the participants are too released or restless or when
their energies are scattered and therefore need to be
centered or focused.
Ice Breakers are given to break the monotony of
the day or of the moment when the participants are
getting bored.
Various Fora are creative approaches using
Dugso.A Tribal dance of Higaonon tribe from Bukidnon various means to synthesize the whole experience.
to celebrate the light - and life - giving power of women. 'fhese exercises hopefully can help the facilitator try
various approaches with the same subject or topic.
Othcr exercises lrray corfre from the facilitators' own
(:x l)cf ictr(.cs.
I. SOME B. GETTING-TO-
KITIOW-YOU
gabs a seat neither left nor
right but elsewhere in the
circle."
SUPPLEMENTAKY/ GAIUES
At this point, the IT grabs a
chair, leaving one
ALTEKNATIVE Kamusta Ka - Iflabuti Naman
participant without a seat.
The participant without a

EXEKCISES F'OR THE Objectives:

seat becomes the IT.

3.
3-DAY SYLLABUS l. Know each other's natnes.
Qame continues as facilitator
feels the goup atmosphere.

A. OPENING 2, Ask the lpoup to form a circle. 2. Release one's inhibitions.

ACTIVITY 5. Ask volunteers to read a

point. Some points could be
read by 1,2,3 or 4
Materials:
C. ATTITI.JDE ,
The Creed pafticipants. Vary reading.
Chair for each participant SETTING
Objective: Tell them that the last two
Procedure: EXEKCISE
points will be read in unison. l. Group forms a circle. Each
Provide a fitting Morning Praise participant sits on a chair. Materials:
activity. 5. Set the mood for prayer. lr-t The facilitator, in the middle,
them reflect silently on the acts as the first IT. Pieces of paper cut as pafts of a
Materials: points. Play appropriate Pie.
music. 2. IT goes arourd, stops at one
Handouts "The Creed" pafticipant and asls Procedure:
Mood Music At a certain point or signal "Kamusta ka (says
from the facilitator, ' the name)? The person l. [et's bake the workshop
Procedure: Participant # I begins. greeted answers in either one cake. What ingredients
Follow sarne procedure of three ways-and the group can each one give?
l. Qive each participant a until Participant # 15. responds in three ways, too. Ingredients such as attitude
handout of the 'C.reed" (See that will make this workshop
Appendix 2, pp. l2l-122.) 7, End by holding hands in a 'fvlabuti naman- - each one memorable, meaningful for
Note that there are l S points. minute of reflection. moves I seat to the right." everyone and successful, Ex.:
'OK lang" - everybody A pound of sugar, coated with
moves I seat to the left. teamwork, milk of listening
-Plasakit ang tiyan ko" or and attention, starch of
any other answer - everybody patience, etc...
 Qive each participant a piece
of paper cut-out from a big
pie.
5, lrct each one write and say
one by one the ingredient she D. LIMBEKING EXTKCISES
will glve, I.et them put the
pieces together to make the
Write on the paper the big pie. The pie will serve as MIRROKING O The shift from A to B leading
ingredients you will give to the goup's norTn for the should not be distinct and
make this workshop cake duration of the workshop. Objectives: obvious. The mirroring should
successful. become one flowing
I . Sharpen one's concentration. movement.

'2. Prepare the body for the day's Limbering Exercise

activities through a series of
movement exercises. Procedure:

\ I'rocedure: l. Ask the pafticipants to form 5

!
t lines facing the facilitator.
*
I. Each participant finds a
partner. Agree who is A and
'g'-./

( 2. The facilitator instructs the

f",fr who is B. pafticipants as she /he
-(
I
,2
demonstrates the followi ng:
:r'-.t Call out A to start. A does a
series of slow movements. B - f nhale/exhale
mirrors A, imitating closely Rotate fingers, hands,
every movement that A makes. elbows, shoulders
Rotate eyeballs (ceiling,
l

I
a-^
- 5 Facilitator calls out B to start. floor, left, risht)
I
i
Without stopping to a neutral Open eyes wide, nzurow but
I

I
positioh, B continues a series can see
of entirely different slow Ivlake face small/big
I

movements. It is now A's Pout lips, chew with mouth

turn to minor B's closed
movements. Balloon cheeks
Massage face/hair
4 Call out A, then B, and so on. Put chin on right shoulder.
---_- Rotate from right to left and
f 'rrcllltation Tips reverse
Hand stretched on the sides,
O Motivate pafticipants to be move chest left, middle,
r.rcative in their movements. right, reverse.
'l't:ll participants to explore Bend half knee (both knees).
ol hcr levels or positions; that Rotate to the right.
lhr:y may use facial Rotate to the left.
r:xlrr(:.ssions. Point toes downward and
 rotate clockwise. Then A. Verbal Release !l When the teams finish, elicit ln 4's - shaver
counter clockwise. In 5"s - tricycle
- short analysis of their answers.
Bend knee fully (squat) Materials: etc. ,etc., etc.
.
lf a scoring system is needed
Bounce.
- Rock on feet. do so.
Chalk, blackboard 3, Elicit feedback, insights, and
- Rock feet backward. 5 Now shift to CENDER- learning points. Ask: What can
- Rotate arTns as if swimming Procedure: REI,ATED SPACE you say about the obiects and
(back stroke).
Follow procedure as in above. spaces you have created?
f nh ale/exhale. I . Divide participants into two Where did you we get the idea
Cross arms over the head, teams forming two lines each that certain objects or spaces
ti Cather some feedback about
turn around and look at 7 -B meters away from the
discoveries made by the are associated with specific
right anlde then at left board. Give each team a piece participants during the game. genders? Is this true?
ankle. Do this B times. of chalk. Relevant? Right?
tt. Space/Shape Studies
2, Divide the board into: 4, Give time for short syllthesis-
E. GEIITDER I't'ocedure: input:

IS CULTUKAL GENDER RELATED OBJECTS I . Form a circle and teach this

song with movement Gender is a cultural, mental
interpretation of sex differences and
Objectives: Team A Team B male-female relations. Sometimes
Kaming mga babae nag-iisiP
Kaming mga babae gumagawa these mental interpretations represent
I. Cauge the participants' BABAE LALAKE BABAE LALAKE an ideal, rather than what is actually
Kaming mga babae lagi nang
perception of gender through done, and observable.
Sandok Llave Batya handa
games and creative Makina
Kahit ano puwede naming
improvisations. Whenever there are gender-
magawa
based statistics, it is important to seek
2, Discover the meaning of
(Refer to Waray-waray sor1g, information on the relevant category of
"Qender is CultLrral," women and men, be it by sector,
page 5l)
region, ethnic group, social class, age
3, Cauge the participants level
),, This time the particiPants sing or any combination of these
of awareness on women's categories. When we use non-sex
and dance in a circle, After
situation. disaggregated data, we conceal
each song the facilitator
shouts the number of Persons reality.
O GENDER-RELATED
and objects which theY will
OBJECTS/SPACE 3, At the shout of "Col" the first forrn or sh ape using their
pafticipant in each team whole body. 5. trnd session with challenges
Objective: writes an object that is by singing any song from the
gender-related under each t1x. I person- sandok preceding exercises. (Refer to
Share and discover one's column. Pass the chal lt to
perception of gender through word 2 persons (in pairs) Day I songp) .

the next player who does batya

release game and creative the same and so otr dowlr
improvisations. llr 5's - apron
the line.

i
O TTME BUDGET: PARAMIIIAN paper. Post them on the
Datu Friar Teacher
/YG GAWAIN board together with their
individual list. Dayang-dayang lady
Spanish Tindera
Objectives: Warrior Clara
Maria Urban Poor
4' Oive them time to read and
Slave Taga-bukid MaYaman
etc...
I . Enumerate all activities one view each other's work.
does in a day.
5. Plenary: Feedback Cathering. c. Costume and Scene
5. Ask participants to provide
2, Survey and understand the
dialogue as the characters tmprovisation
development implication of Deepen by asking what they
walk.
women activities. noticed among the tasks or Materials:
activities of women? How do
Ask pafticipants to say
Materials: you feel about all these Native costumes or blankets, scarf,
something what these
activities? If given your free characters could have said towels, etc. which can be
pieces of paper time, how would you like to during those days, improvised as costumes
crayons spend it? Are there any
manila paper activities you want to do to
5. Provide period music if Proced ure:
masking tape develop yourselP
possible,
PYoc€dure: Divide group into 4. t€t each
O SEX AND GENDER: TTME
MACTITNE - COSTUME
It. Group Improvisation slTrall group select one person
to be dressed as a character
l. Give each participant writing IMPROVISATTON
I'rocedure: d uring a certain period. (Refer
materials. Ask each one'to to A2, preceding page.)
list down all the things she Objectives: Divide participants into 4
does from waking to sleeping 2, t€t the model stay in the
grouPs.
time. Enumerate. l. See women's role in the light middle of her group. Ask the
of society's expectations ,2
Give a specific time and place other members of the group
2, When they have finrshed ask through historical eppchs. - (e.g. kitchen at I I a.m.) to each assume a character in
them to put the uunount of relation to the main character.
Everybody sim ultaneo usly
time they spend for each. 2. lmprovise situations of moves/acts in the given space
Add all the minutes/hours to women through dialogue and
and at the given time. Ask them to move about and
find total time for one's daily costume i mprovisations. try to interact with the main
activities.
1 Ask pafticipants to provide character, one at a time,
A. ?re-Exercise: Movement dialogue. showing their relationship and
3. Qroup them into 5's or 6's and Dialogue their expectation of the main
and let them share their
4 Cive each goup time to character. Motivate them to
discoveries, feelings and Procedure:
synchronize action and concentrate on their own
insights about what they have
clialogue. character.
listed. Ask them to synthesize Participants form 5 lines.
their sharing by creating 2 or
5 As group acts out their t€t them go in a "stopgo-
5 statements on Women & 2, Ask pafticipants to show lrow
ntation, others " f(eeze." freeze-di alogue" proce ss
Time & Resources, Print the following characters w:rllt J)rcse
these statements on manila
il

simultaneously and later on Materials: them time for sharing. Some 7, Conduct a plenary sharing
one at a time. guide questions for the of tableau statements.
Drawing materials sharing: WhY the shaPes and Ask participants to Present
5. Do this for some time giving Slides: "What is a Boy? What is a colors? What feelings or their respective grouP's
them proper motivation to Cirl?" thoughts crossed Your mind? table?u: its message and
emote clearly and to use Handouts z "lle works, she works"; What do You think is the the relation of each individual
defined dialogue. Help them "For every Woman" present situation of women? in the picture. Provide time
come up with natural Mood Music Why do you think this is so? for clarification and Polishing
situations of the period. of tableau studies.
frocedure: 6. Each gouP decides on a
D. The Present common statement which B. End session with a Poetry
l. Present the slide show, "What represents the grouP's reading of " For Every
Procedure: is a Boy? What is a Girl?" reflection. Show this through a Woman" (See APPerrdix 6
Provide appropriate music. Do group tableau. Use no pp. 129- I 50). Provide
l. Cive each group a specific not follow up the viewing with dialogue. appropriate music.
space: Mindanao, Negros, any lecture or discussion.
Cordil lera, Katagal ugan .
Encourage partici pants to 2. Give each pafticipant a piece
bring up specific activities of of paper and coloring
and expectations on women, materials. Tell them to
given the spaces mentioned. express th eir reactions to the \{U LAAN NYO
slide show through lines, ITo AY TABLEAU. ANo AN6 KUNG ANO ANG
2, Cive participants time to colors and shapes. Motivate TAbIEAUT ANG TAbLEAU G INAGAWA NAMTN
rehearse. them to use as many colors, o
shapes and lines which
As lN ll\bL-o Ay rsAN6 o
o

3 Cet initial feedback: What did represent how they feel and AClION NA 5A KALACITNAAN
you see? What were the thin k. NO ACTtoN NA lTo AY
activities done by women? TITT6T KAYO NA PARN
What were expected of 3, Cive each one the handout, DAN6 NANIGAS KnYo.
women? "tle works! She works!" (See FRE EZE. BA6A AT PA6 I(A -
-rAPos a\
Appendix 4, pp. 125-126.) Ar lruluLoY N',yo \u\
O cENDER AS tr AFFEcTs TnE Divide group into two. One NA ULI YUN6 ACIION.
GENERAL SITUATION OF group reads "He works"
WOMEN. column, the other group "She
works" column.
Visual Arts Er Tableau Studies
Now ask them to surface their i0
',0
it
Objective: reflections visually through 1.'
1l
J

colors and key words.

Express one's reactions to
il
women's situation through visual 5. Ask them to look for three
ll
afts and tableau studies. other persons to show their
ti

two visual reactions. Give

,,
 N. WOMEN & - Ika- 12 anak na babae, hindi
na mapag:aral dahil mahirap
gfoup of girls talking about
boyfriends
o PRIVATE AND PUBLIC
ARENAS
STKUCTUKES - anak na babae dwnating mother and father giving son
nang ala-una ng hatinggabi and daughter pieces of Tableau Studies
- asawang lalake dwnating advice
Objectives: nang late mula sa trabaho school problems rooted out Objectives:
- ano ang ibibigay na advice from being a girl or a boy
l. Diagnose how participants sa malapit nang ikasal? some TY /movie episodes with l. Analyze arenas of women
perceive and react to gender - naghiwalay na; etno ang women characters in any of activities.
situations. sasabihin sa babae? the following:
drama 2, Develop teamwork and
2. Provide creative venues for 3. Cather feedback and/or action sensitivity through group
the participants to discover insights. What did you comedy activities.
the various roles of women discover in the reactions/ pictures in print
and analyze how these dialogue which surfaced? advertiseme nts suggesti ng Materials:
structures affect /dictate such Why were those expected of society's regard for women
roles. women and men? What were preparing for mariage Pictures of Women at Work
society's pressure on the (pamanhikan) in the household
o CTIAKACTER-SITUATION child-girl or boy? prayer in the church in the community/
STIMULUS neighborhood
O ScENE TMPRovISATToNs Note: Use freeze-action Process to in the school (volunteer, extra-
Objective: facilit ate the presentation of curricular, PTA)
Objective: each goup imProvisation in organizations
Surface spontaneous reactions to in the state
various stiuations. Surface spontaneous reactions 5. Pick out from the above some in the market
through creative improvisation on scenes which could be played
Procedure: various life situations. with the fime Machine Procedure:
Exercise.
I Ask the group to sit in a Pfoceduret \ l. Divide the gfoup into 4
circle. E.g.: Preparing for Maniage subgroups. Give each
I. Divide the group into 4. (MalTiage Proposal) - subgroup a picture.
2, Ask anyone to react by saying show this pafticular
a line, phrase or dialogue 2, trach goup creates an instant event in various times: 2. Ask participants to copy the
given the following stimulus: im provisation complete with pre-colonial era, during pictures using their bodies.
dialogues, character, the Spanish regime,
batang lalake naglalaro ng movement as required by the during the Japanese war, 3. Tell pafticipants to show each
manyika scene suggested by the today. scene as a tableau. Ask each
- batang babae nanonood sa facilitator. character in the tableau (or
amang nagtatrabaho sa 4 , Provide a short feedback picture image) to speak out a
makina Some suggested scenes: session on the participants' line.
- 16 anyos na babae buntis f'rom the various exercises.
- asawang lalake naglalaba sa daughter giving report carcl lo
poso sa harap ng bahay parents
 Procedure: Yre-exercise C:
First ask the participants to O WOMEN AS SOCIAL AND
"freeze". Then tap a goup to ECONOMIC ACTORS
staft developing their scene A. Pre-Exercise: Junk Explo and Orchestration
through movement and Women as Producers Body Sound ExPloration
dialogues. Shout "Freezel" Rhythm & Sound Studies and Orchestration I . Now ask them to get their
after some time and call out found obiects. ExPlore the
another group to develop their I . Ask particiPants to form a big different sounds and rhYthmic
Objectives:
scene. circle. L,et them sit patterns which could be made
l. ldentify and affirm women as comfortablY on the floor. cut of these objects. Provide
,
D. ffier all the groups have social and economic Encourage them to exPlore time for exPloration.
presented, tell them that this animators. the different sounds wl'tich
time they have to come up can be created bY bodY 2. Now each one demonstrates
with their own original picture 2. patts. her rhythmic Pattern through
See and consider how women
as facilitator calls out arenas her found object.
activities relate to larger
of women'si activities. systems of activities or a hand - claPPing
Example: horne, community, production system. finger - flicking 3. tead them to an orchestration
place of work, school, media, feet - stamPing of their pieces with You, the
nasal sounds Facilitator, acting as orchestra
church, etc. 3. Create sound and rhvthmic
pieces projecting women - vocal sounds conductor. Encourage them
End the activity with one big related issues. others to move and dance around.
picture with everybody in it Let the i un k orchestration
as participant - Women Materials:
'2
Ask each one to demonstrate reach to a climzx and then
United. one's discovery through a slowly fade out.
Pentel Pen, manila paper,various rhythmic pattern. GrouP
7, Cather feedbacks: objects which can produce sounds echoes rhythmic Pattern of 4, Elicit surfacing of feelings,
How did you feel? What are each pafticipant. insights, events, places,
when manipulated
your discoveries? Who are people which particiPants
the women in the different 5 tead them to the were reminded of bY the
With the following pre-
arenas? How did your orchestration of these musical improvisation .
exercises participants can explore
characters react in the aftistic possibilities with sound and rhythmic pieces. Facilitator
different arenas or situation? rhythm that they can use later in acts as conductor.
Why? What dictated such Exercise B: Space-Souncl Story
reactions or roles? How did lmprovisation. Use the latter !1 Elicit short reactions - what
you find your group process? exercise as a take-off point for feelings, places, events are
discussion. you reminded of bY our
orchestrated Pieces? How do
you feel about it?
 ?re-Exercise: following topics may be
suggested: 5. When everybody has
Sound lmprovisation performed and their pieces
Paramihan ng Gawaing Babae - household chores from have been analyzed, a,sk each Some important points which
morning till evening goup to paste their paper on need to come out:
l. In gtroups of 6 members - farm life - morning to the board. Ask the goups to
each, participants list various evening dramatize by turn the various We tend to ignore the fact that
women's activities. They then - office hours women's activities visualized most women are engaged in
recreate these activities - factory Site from the different sound work not onfy in their famify-
through sounds using one,s stories. related roles. They also act as
body and voice as well as Cive palticipants enough time p rod u ce rs--farmers, f isherfolk,
found objects. for goup work and 6. The facilitator or resource crafts people, traders, workers,
rehearsal. person provides deepening employed, self-employed,
2. Call out a group to present an through intimate discussion employers, etc. The actual roles
improvisation. Another group 2, Ask the palticipants to share and surfacing of insights. of women are usually more
guesses the activity depicted with the other goups their The following questions can varied and significant for the
in the improvisation. The experience through a help analyze tlr'e issue or econoffiy, more than economists
group who guesses it right presentation. Cive each topic: and planners realize. lt is fruitful
presents next. List on board goup a piece of manila to consider how women's
the various activities paper and a Pentel pen for Why do we say that women activitOs relate to larger systems
depicted. them to write their are also producers? of activities or a production
impressions later as a goup How do they contribute system. Looking at women's
3, Provide a specific space. performs. Draw lots for greatly in the production activities, the systems they
(e.g. balkonahe). Each group sequence of perforrnance. systems? contribute to, as well as
recreates through sounds How can we make our performing a gender analysis of
what a woman does in the 5, Ask the gloups to perforrn as contributions be more felt these systems result in greater
space. List on board the their turn comes. and visible? visibility for women, a better
activities. Next, indicate a What are some practical understanding of gender-
specific time of day As each group perfofms, asks ways to better understand relations and the
(e.9. l:OO am.). List down the other groups watching and gender-relations and the interdependence of men and
the responses on the board. listening to write down on interdependence of men women in the economies.
their manila paper women's and women in the
activities that they visualize economy?
c. Space-Sound Story in the work space-sound-
lmprovisation3 and-story improvisation of the
performing group. After
l. Divide the lFoup into 4 each performance, ask the
subgroups. Ask the audience to identify the story
pafticipants to create an sequence. The performing
atistic story/piece with a group in turn clarifies their
beginning, a middle and an presentation and validates thr:
end, using creative sounds. audience's perception of their
Use no dialogue. The story.
il'i 5. Elicit feelings and insights for
o DRAMA. POETRY AND who strikes them most
Sample Motivations for feedback:
MUKAL (whether positively or What did you feel? WhY did
negatively) . That woman may Travelogue
you choose that Particular
Objectives: be a historical, literary or woman? WhY do You think a
political figure or may be It's 3:00 a.m. and You're asleeP.
Where are you sleePing? On a woman never runs out of
I . ldentify the different somebody very close to them. things to do? What are the
structures that dictate the role Think of that woman. soft bed? Or on a hard wooden
bed? Or on the floor? ls it cold contributing factors?
of women.
2. Ask the participants to relax or warm this time? Are there
mosquitoes? Etc... 6 For synthesis, discuss the
2. Ex peri en ceartistic/creative and lie on the floor. Cive structures that affect /dictate
activities as a group. them breathing exercises. the role of women.
Tell them that they Ne now "lt's 8:00 a.m. and You're now
Materials: assuming the character of the inside the bus. How crowded is
women they chose. Now each it? Are you seated or standing? oo AL A5

Drawing and writing materials, woman will undergo a How does the bus move, slow or NwEb6...
manila paper, pentel pens, black- travelogue and she has to fast? How are the roads? Show NA6sUJ U LS

through action... 9:00 a.m. ... Atco.

board, masking tape, ball or move according to what she is
improvised ball doing at the specific time and 10:00 a.m. ...
space that the facilitator
Following is a series of activi- mentions. Her movements "lt's 8:00 p.m. and You're having
ties which Ne so closely related should be clear with well- dinner. What is Your food? Do
that the first exercise builds up to defined details. you like it? Show through action.
the next. However, there is a need Are you waiting for someofle,
to define the focus of each exer- Now start the travelogue :
etc..."
cise. Th us, after every exercise, Start from 5:OO a.m. to l2:OO
feedback should be gathered , lf , p.m. Cive them continuous
however, the facilitator finds the motivation by supplytng ALAS TREs...
pafticipants quick to respond to detailed instructions and NAGLIL16PIT
stimulus and Ne quite open, there questions to help therh AKo
may be no need for feedback - visual ize their actions.
gathering after each exercise. A
general feedback synthesis at the Cive "freeze" moments, and
choose some pafticipants to
)1

end of this series of exercises will

suffice. The facilitator is free to act out their character's
make adjustments. See to it that activities, or allow others to
the exercises flow smoothly. say their dialogue. Elicit more ALAS DYEs...
creativity and realism. There NA6HUH UCAg
A. Isang Araw sa Buhay ng can be interactive moments if AKO N6 M6A
Isang Babae needed. Allow the PrsG6nu .

participants to go back to their

Procedure lyrng positions. Motivate them
to relax and slowly go back to
l. Instruct ttte participants to the workshol) s(:ll irtt1.
choose a woman character
 B. Catch-alld-Throw Samples oI Dugtungan Mural-Making FYom Poetry opportunities and
Poetry Dugtungan lntroduction Lines initiatives? What are their
t:

Procedure: constraints regarding

Procedure: Titfe: Sf Ginang sa Bahay time and mobility?
Krrng,,, wnaga na neilnan l. Cive each goup coloring
l. Gather participants in a circle Bangon Qinang kahit alas materials and manila paper. O hlow should development
and play catch-and-throw ball. 4:OO pa lang Ask them to picture the and planning programs
Tell them to give words, images in their poem through respond to the
phrases, lines which remind Title: Azg Asawa ko shapes, forms and color, assumption that
them of the following as they Eto na si lvlister, pagod na showing women in various educated and
catch the ball. pagod activities and making use of econon:lically active
Salampak sa sopa, siya'y tila time and resources. women postpone and
Keywords hilahod minimize giving birth and
2. Cive participants ample time maintain better health as
Title: Ang Ina for making murals. Encourage a result?
Gawaing Babae Naisip Sa gitna ng gabi them to leave no space
magigising ka uncolored. O How can we increase the
Oras ng paggawa Naalalang Sa iyak ng bata o proper appreciation of
Pangyayari sa kalabit niya 3, Ask pafticipants to share women's great
insights about the murals. contribution to the
Gamit sa Paggawa Mga Bagay
5. Ask them to go back to their Draw out some impoftant economy?
groups of 5's or 6's and points:
Kapalit ng Gawain Taong
Nakasalamuha
instruct them to write a short O What strategies and
dugtungan poetry on any of O How can the total burden schemes can women do
Suweldo, pera Dialogue the structures identifi ed on women be reduced, to have access to
Etc... kasabihan earlier. In attacking their and their time become critical resources for
Symbols poetry writing session, more prod uctive? i n creased prod uctivity

Etc... motivate them to use and income?

pafticular concrete i O Can new information,
experiences. welfare or income be 4, End session through chants.
2. Continue the catch-and-throw introduced in ways Chant all the impoftant
through a poetry- dugtungan 4. Give them more time for this. compatible with women's challenges and ans\,ver to the
process. Give a title or theme. Co around for added time and budget? above questions.
Staft with a line and throw the coaching. When one gtroup is
ball to someone who adds a through, ask them to polish, O When and where can
line thereafter, the ball is edit, read, listen to the poenr women be involved? G. Change
thrown to another member and write the final text on Can their work
who adds another line and so manila paper. schedules or Objective:
on down the line. Stress that responsiblities be
rhymes are not always in many 5. trnd the poetry session with il rearranged or relocated? I . Cuide the participants through
poems. Facilitator can get the choral reading of the poellls the process of identifying how
ball back to control the flow of written. O Whir lt :t(l() flr()ul)si arc gender problems manifest in
the poetry. liltt:ly irv;ril;tlrlr: lol' r't(:w their lives.

I
 '2. Cuide them to define ways to When they Ne through with 2. State one's agenda for change 2. Ask participants to form a
break the cycle of gender their discussion-sharing, glve through dramatic Pieces. silhouette of their chosen
t
su bordination. each participant the hand-out characters.
"Obstacle Course" (See Procedure:
3. Provide a tool for the Appendix 5, pp. 127-128,) Ex. l-lusband pulling the hair
pafticipants to identify their A. Pre-Exercise: of the wife. (Husband's
personal agenda for change. D. Ask them to go over the Oppressor-OPPressed position is higher and
"Obstacle Course" and assign wife's position is lower')
each group to study one or l. Ask each one to get a Paftner.
o FILM, POSTER, CREED two items thoroughly. Then They decide which one is the 3. Following the example given
ask them to give the oppressor and which one above, ask husband to rePeat
Objectives: recommendations on proper the oppressed (e.9. a his line 5 times and to
attitude gleaned from the drunkard husband and a intensify, for exarnPle, his
l. Point out practical examples "Obstacle Course." submissive wife). Ask them to anger from angry to very
of double burden of women. provide each character with a angry. Ask wife, on the other
Ask pafticipants to form one line: hand, to answer back, from
2, Point out some ways to big circle. Croup members pitiful to most pitiful.
unleash this burden. stand beside each other. '?#ffirHi,'*)onnn" 4, Facilitator shouts "Change ! "
Materials: 7. Point by point, each "Obstacle babae... bahala ka! and counts from I to I O.
Course" is recited and Slowly the performers switch
Film - lmpossible Dream whichever group is assigned WIFtr: characters and lines (like a
Foster -"Ylr, & Mrs. shares their appropriate "Aray! Ivlaawa ka naman!" see-saw).
sa Trabaho/Baha/' attitude. Ask someone to
Hand-Out - "Obstacle Course" write all the attitudes on the 5 Go on with this process 3-4
board. times until the particiPants get
Procedure: the feeling of both the
B. trnd the session by reading oppressor and the oPPressed.
l. Show the film - The the "Proper Attitudesi written
Impossible Dream. on the board. N6 1il .-.
HtNDr NAMAN AKo
2, Divide the group into small N AK h?AGLUto KA5
groups of 5-6 persons. Cive O PARTTcIPATToN AND Httlot t\lAMAN
each person the poster CHANGE SYA NA6 - IWA N
"Mr. & l{rs. sa Trabaho/ NG PE RA NA
BahaS/', lmage Theater PAptALEN6Ki

3, Ask the group to reflect. Ask Objectives:

them to point out and discuss
the similarities between the Share and recreate gender
film and the poster. Relate problems through dramatic
these points to one's own life. improvizations.
t

\
ll. Group Tableaux and the last tableau, Ideal choosing from any of the Procedure:
Image. Rehearse them again: following themes:
Divide the group into 4 small l-2-3-4- or l-2-3 images. I . Divide participants into three
groups. l-€t each group Character dialogues may I{emories of Being a Woman smaller groups, ensuring that
brainstorm on a particular come in. Aking KahapoIl, each one of them reads her
problem of women. Ngayon at Bukas Bilang Babae letter. Provide proPer mood
6. Go to the final presentation of Participation and Change for and setting through lights and
2. Show this problern in a picture all their Image tableaux. Women music.
image or tableau. Give them Gather them again in a circle Personal Keflections
time to rehearse to clearly and talk about the problems 2, End by listening and learning
show each other's and solutions shown, Analyze Or: Activities that I have been the sohg:
relationship and the problem. the process of solving, doing as a woman and what I
This is the Actual Image. pafticularly transition from the want to do or not do; want to BABAE KA OT
Actual lmage to the ldeal learn, to change. PAOBABAGO
3. Co to group tableau lmage. How was the process
presentation. of attaining the ldeal lmage? 2. Cive participants the rest of H. Keflection of the Day
Now create a new tableau What difficulties did you the afternoon for writing. Salin-awit
using the same important personally encou nter? How Letters will be read during
characters in your previous else can we attain the ldeal evening session. Objectives:
tableau (with problem). This lmage?
time the new picture will no O MGA LIHAM, AWlr Defi fl €, en umerate discoveriel
longer have the problem. lt Draw out some im portant AT ALA-ALA and learning points of the daY
has been resolved. This is points: Women in development
called the ldeal lmage. means development with people Objectives: Provide a more relaxed endint
Give them time to create this as participants and not only as session.
ideal image tableau. Practice beneficiaries. A pafticipatory I. Share personal feelings and
showing these two pictures approach requires a process that insights. Materials:
one after another. Add a new brings new opportunities for
dimension by letting each one Women. i 2. Provide a fitting Day 1-ender. Pentel-pen, manila paPer, writing
speak out their character's materials
inner thoughts. Cive them Materials:
some time for rehearsal. C. Letter-Writing Procedure:
l,etters written by participants
4. Each group now shows two Materials: Soothing taped instrumental Divide the group into 4 teams
tableauX: the Actual lmage music for background Cive each team a piece of
and the ldeal Image. Paper, pen or pencil Copies of songs and taped paper and a pencil. Instruct
music of: them to write titles of son$s
5. Co back to your group and Procedure: on women - folk songs, PoP
create one or two new BABAE KA songs, etc... Ask them also to
pictures showing the End the previous session by PAOBABAOO give a name to theil'grouP
transition images, between instructing the pafticipants to (band). Cive them a defined
the first tableau, Actual lmage write a letter to a lovecl one place to sit.
 2. Call out a group to sing one or best. Each group sings the
two lines from a selected whole song.
song. The first goup calls out
the second group which then Now change the lyrics of the
calls out the third gfoup and song to words and phrases
so on down the line. A group which tell how they feel after
can call back the lfoup one whole day, their
which has called them earlier. discoveries, insights, learning
But there should be no points, etc. ..
repetition of songs. Croup is
eliminated if they cannot start Cive them time to compose
to sing after they have been and rehearse.
called and a countdown of 5
has been made. Winners can Share experiences
be declared at the end of the encountered during the
game. exercise.

II.
I

3 Now each goup selects from

their list the song they like
7, End the day with a group
massage. SPECIAL FT.JNCTIONAL
EXEKCISES
A. DIAGNOSTIC count of 5, particiPants
immediately mime or act
EXEKCISE out what comes to their
minds.

Objective: 5. Each group should unite on

one action on!Y.
Cauge the participant's
orientational and or Facilitation Tips:
organizational level.
o This exercise is best done in
Procedure: silence. This is to gauge how
each one interacts in a small
l. Group pafticipants into 4's. group given only 5 seconds to
react and to unify.
'2. Facilitator shouts a stimulus
word (e.g. "womQYr", o Give focus to each grouP's
"clevelolrl'll(: lll ", " \,/()rl{", piece. Then proceed to next
"llec(|", "('ll;lll(l(:", r:l<'.) nl I ltc stimulus word.
r
B. SENSITIVITY EXEKCISE Procedure: 4. The next count starts from I
again. This is again
STNOULDER TO STNOULDER l. Form a big circle. determined by the direction of
the hand resting on toP of the
2, Face right and do a one knee head.
Objectives: noise, the participant about to bend (genuflect) position.
fall can make a sound. Using the elbow, massage the
I . Build sensitivity among the person's back in front of You.
participants. When everyone has
experienced "falling" and 5. When through, everybociY
D. VARIOUS
2. Build up a team. being "saved", facilitator faces left and do the suilne FOKA
allows participants to slowly elbow massage.
Procedure: open their eyes.
Objectives:
Tell the participants to face 7, Croup pafticipants back to a
any direction. Then tell them
to close their eyes.
circle for surfacing of insights,
Facilitator asks these
C. ICE Share in an interest grouP
output.

[,ead each participant to a

questions: How did you feel BKEAKER 2, Share !troup-resolutions
looking for the two other
different space in the room. shoulders? tlow did you feel through creative venues.
when you could not find the Concentration Exerci se:
3. Give out the command, other two shoulders? And 7-up Materials:
"Ylovel" Each participant when you have finally found
should find two other them? How cloes it feel to fall Objective: As needed by the grouP
shoulders to lean her and be saved? Or not saved?
shoulders on. She should not What learnings, insights did Develop concentration in a fun- Procedure:
stop until she finds the two you discover in this exercise? play way.
other shoulders. Relate to real life situations. I . Divide the group into 3-4
Relate to the workshop Procedure: interest groups.
4. When everyone has her "two Process.
other shoulders ", f acilitator .
I Group forms a circle. O Concert Production
shouts "Fre ezel" Centering Exercise: Group O Drama Production
Elbow Massage '2. One starts bY counting I . The O Creative lvlodule
5. Tell the pafticipants that when direction of the count is based Production
the facilitator taps someone, Objectives: on the direction of the hand O Visual Arts Production
that person should fall. The placed on the chest of the one
objective of the person beside I . Help each other relax. counting. 2, trach gfoup begins to work on
her is to save her or to their group interest Project:
prevent her fall. While others 2. Center each other's energy. 5. By the time the count reaches
are forbidden to make any 7 , the hand is placed on toP CONCtrRT PKODUCTION -

of the heacl. Learn to sing songs ProPerlY

about women, comPlete with
 movement or a choreography
of images. Prepare a 5- I O
VISUAL ARTS PRODUCTION
The group makes a mural
-
SUGGESTED READINGS
minute concert production. about women, Pafticipants BASIC GENDEK AWARENESS TRAINING:
can put together a big mural
DRAMA PRODUCTION. production.
Come up with a mini-product- l. Countittg for Nothing: What lvlen Il' Women Taking tlotd of
ion on a particular women's 3. Cive participants the whole Value and What Women Are Worth. Teclrnology; a collectlon of IWTC
newsletter on women and aPProPrlate
issue. Rehearse this product- morning for rehearsal and Waring, Marilyn Wlnchster: Allen
and Unwin, 1988.- 29OP. technology lssues New York, 1984.
ion for a 5- I O minute show- production work. Facilitators 166p. lllus. -
case, complete with cos- move around for monitoring 2, The Domestication of Work.
Rogers , BarbaYa L,ondon: Kogan | 2' Women Organizing,' a collection of
tumes, sets, sounds and dia or each facilitator takes care - IWTC newsletter on women's
Page, 198O. 2OOP.
logue. The outcome of the of one production or interest organizlng and networklng strategles
lmage Theater Exercise can be group. Facilitator may also act 5. Feminism and Nationalism. New York: IWTC, 1984. I l4P. lllus.
Angeles, Nora C. Feminism and -
a take-off. as a consultant. Natlonalism: The Dlscourse on the 15. Woman: The Password ls Action
New York: IWTC, 1988. l5l P. lllus.
-
Woman Q,uestion and Politics of the
CREATINC LEARNINC MODULLS - Sharing of Production Women's Movement ln the t4 Women Working Together For
Co back to some particular Phlllppines: A Thesis... Diliman, Personal, Economic and
Q,uezon City, 1989. 277p. Communi ty DeveloPment.
topics in the worlshop. Se- Procedwe:
4. The Feminist Challenge. Agullar, Kindervatter,suzanne. 1985. lSOp.
lect a topic and create an out-
Della, The feminist Challenge; inltlal
line of activities to bring out l. Present the various showcases worklng princlples toward
t5 Its Our Move Now: A Communlty
Action Culde to the UN Nairobi
the message of the topic. or productions. conceptualizing the femi nist Forward L,ooking Strategles for the
Create module teams (5-4 movement in the PhlliPPines Advancement of Women. Sandler,
-
Malate: Asian Soclal Institute, 1988.
people in each team) to plan 2. Ask each goup to conduct Joanne New York: IWTC, 1987.
-
module packaging and its own Synthesis and 5 The Feminist Movement in the I l2p.
facilitation. trvaluation. Philippines. l9O5- l955. Subido, l6 Occaslonal Paper No. l: Women in
Tanosa. Q,uezon CitY: CAWP, 1989. Development. National Commlsslon
7 4p. on the Role of Fillplno Women.
6 The New Our Bodies, Ourselves- 17. Occaslonal ?aper No.2: Feminism.
Revised Mition New York: Simon
National C-ommlsslon on the Kole of
- 647 P. illus.
and Schuster 1984 Filipino Women.
7 What is A BoY? What is A Girl?- l8 Primer on Gender Issues. Edlted
Waxman, Stephanle n. l. The
byt Eviota, Ellzabeth wlth
Women's Press (n.d.)- 4l p.
PaPens/
discussions on: Sex and Gender,
8 Kiss Sleeping Beauty Goodbye- ldeology and Cultural Practice,
Kolbenschlag, Madonna. Bantam Sexuallty and Sexual Practlce, The
Books [n.d.) Famlly tlousehold, Sexual Dlvislon of
Labor. Natlonal Commlssion on the
I Women and Small Business; a Kole of fllipino Women.
collectlon of IWTC Newsletter dealing
wlth women's involvement in l9 Woman to Woman: An
buslness and flnance New York: lntroduction to Feminism.
IWTC, 1985. I l5p.
- lnternatlon alist Issue.
Io Women Usin<t Me(lia for Soclal 20. -v'hilippine Development Plan for
Ch:rnqe.' a collr:< I lott of IWTC 'rl/omen. I 989 - | 992. Natlonal
ttr:wslr:tlr:t <)lt w()lllt'11 ;lllrl ttlr:dla Commission on the Role of FlllPlno
- Women, 1989.
Nr:w y'r1, 1,1)ltll l{}ti;r. lllrr..;.
APPENDIX I

A MEETING
Act l: I3-2b

Today we gather.
Meeting together to consider
where we stand
and who we are,

We come to order ourselves

into a new sense of order according to our progress
from the last gathering to this one,

Be with us, O God,

in this space and time
as we affirm and-shape the changes
in our understanding of the Way.

We desire not to fly apart

in garish fantasy of vision
but rather to move the boundaries
that we have set before
in order to encompass and embrace
the living and breathing growth
of each and all.

We work in prayer and dialogue.

In going back to see where we have been,
we steady owselves
for the journey forward today.

We are here
to reconcile all that we were,
our trust... our hopelessnesS
our Joy... our despalr
our conflrmlng... our betrayal
 to offer a farewell to those who are departed APPENDIX 2
and to welcome those who Ne newly come.
To confess, absolve, reconcile, renew.
To be all that we can be.

To set firm a pathway that is possible.

CKEED
Possible for us to walk until we meet again
to reassess the journey I believe in Cod/who created woman and man in
and again set firm a pathway. Cod's own image/who created the world and gave both
the sexes /the care of the eatth.
trach step along the way we clear the stones and obstacles,
healing and refreshing each other. I believe in Jesus/Child of Cod, born of the woman,
We listen openly to each tale of travel and Ylry/who listened to women and liked them/who was
hear each one's proposal for the time ahead. foltowed and financed by women disciples.
Knowing you are here, God, I believe in Jesus/who discussed theology with a
we are freer in our interaction, woman at the well/and first confided in her, his
more daring in the sharing of our personal visions, messiahship/who motivated her to go and tell her great
loving in our confrontation, news to the city.
deeply silent in consideration and
accepting in the choices that for a litile while I believe in Jesus/who received annointing from a
will help us to define our actions woman at Simon'S house /who rebuked the men guests
until broader definitions draw us on. who scorned her. /l believe in Jesus/who said this woman
will be remembered for what she did - /minister for Jesus.
In this your presence,
we meet to order ourselves anew, I believe in Jesus/who healed a woman on the
to consider where we stand and who we are. sabbath /and made her straight/because she was a human
being.
Today we gather. I

I believe in Jesus/who spoke of Cod as a woman

SOURCE: seeking the lost coin/as a woman who swept seeking the
MIRIAM OF NAZARETII lost.
Woman of Strength & Wisdom
Ann Johnson I believe in Jesus/who thought of pregrancy and bifth
with reverence/not a^s punishment-but as wrenching
event /a metaphor for transformation/persevering in
anguish/giving bifth to joy.

I believe in Jesus /who appeared first to Mary

Magdalene/who sent her with bursting message : /CO AND
TtrLL.
 I believe in the wholeness of the Saviour/in whom APPENDIX 3
there is neither Jew nor Greek/slave nor free/male nor
female/for we are all one in salvation/in liberation.

I believe in the l-loly Spirit/as she moves over the

waters of cre ation/and over the earth.
ANc FANTASYA /YI EBA
I believe in the Holy Spirit/the woman spirit of Cod/ asaya at maaYos ang kaka-yahang magPasiYa, ang lakas
who created us and empowers us/to seek out faith and buhay sa baYan ng at katatagan ng kalooban, ang
truth and justice. Kagawasan, Ang babae lakas ng katawan.
ay kilos babae, at ang
lalake, kilos lalake; nasa tamang Ang mga lalake naman ang
I believe in the Holy Spirit/through whose
empowering/we shall be liberated and we shail be free/ lugar ang lahat. Bagamat PantaY- mga maYbahaY. Sila ang nag
together with all of our sisters and all of our brothers. pantay ang Pagtingin nila sa aalaga ng mga anak: tutal, maY
kababaihan at kalalakihdrT, hindi Iikas silang katangang maPagma-
F'OR I BELIE,VE THAT NONE OF'US CAN FIND sila naniniwala sa mga hal at maPagaruga. Sila rin ang
LIBERATION UNTIL ALI. OF US HAVtr F'OUND IT. makabagong Pananaw na Pareho biniyayaan ng mga kamaY na mas
may resustensYa sa init, kung
I

dapat ang kilos, ugali at PaPel ng

babae at lalaKe sa liPunan. kaya't mahuhusaY silang magluto'
Kasiyahan nila ang pagsilbihan ang
Babae ang Pangulo ng Kaga- kanilang mga asawa at mga anak'
wasan. Babae rin ang mga oPisYal Bagamat hindi sila kumikita sa
na nasa mahahalagang PosisYon ganitong klaseng gawain, sinusu-
ng gabinete, tulad ng Kagawaran portahan naman sila ng kanilang
ng Patakara ng FangkabuhaYan, asawa bilang kaPalit sa kanilang
Tanggulang Pambansa, PananalaPi, serbisyo, Kinikilah rtn naman ng
lndustriya at Kalakal. Babae ang lipunan ang kanilang mahalagang
mga sundalo, ang mga negosYan- iontribusyon: sila ang tinaguriang
te, ang mga Pari ng simbahan. 'ilaw ng tahanan" at taon-taon
Babae ang mga manggagawa, binibigyan sila ng bulaklak tuwing
magsasaka, mangingisda, at Araw ng mga Ama,
propesyonal,
Ang ganitong Pagkakahati ng
NararaPat lamang ito, dahil trabaho sa liPunan' at ang Pagka-
iyan ang papel na itinakda ng kaiba ng likas na Pag-uugali ng
Diyos Ina para sa mga babae, babae at lalake, aY alinsunod sa
Kaya nga't biniYaYaan ng DiYos lna pagkakaiba ng kanilang mga kata-
ang kababaihan ng hagawasan ng wan. Tanda ng lakas at katatagan
mga katangiang angkoP sa ng kababaihan ang kanilang kaka-
ka n i Ia ng m ah alagang Pananagutan yinang magdala ng bata sa kani-
.s;f lipunan: anq ntatalas na isiP at lang sinaPuPunan, at tiisin ang

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sakit at hirap ng pagluluwal nito. Kung kaya't kailzrngang pagkainga-
Ang kanilang papel bilang mga tan sila, huwag masyadong pala-
APPENDIX 4
manggagawa sa lipunan ay naka- basin ng bahay, dahil kung may
batay rin dito, at sa kanilang kaka- mangStari sa kanilang ari, paano na
yahang magpasuso sa mga bata:
hindi ba't ang panganganak, at
ang pagpapatuloy ng lahiT Kita rin
narnan sa kanilang ari ang kakula-
HE WOKI{S. SHE WOIilfS
ang pagkakaroon ng gatas pera sa
anak, ay isang uri rin ng
ngan nila ng kakayahan sa maha-
Iagang pagpapasiya: dahil nakala- BW WIIAT DIFFERENT
produksyonT bas ito, may kababawan silang IP//PNESSIONS TTIEY I}IAKE!
mag.isip at hindi gaanong maga-
Pati ang anyo ng kanilang Iing rnagtago ng mga selrreto,
aring pangreproduksyon ay naa- Kung kaya't nababagay silang Have you ever found yourself up against the old double-standard work?
ayon sa kanilang papel bilang magpasiya tungkol sa mga bagay Then you know how annoying it can be and how alone you can feel.
manggagawa, mangangasiwa, at na hindi na dapat pagkaabalahan supervisors and co-workers still judge us by old stereotypes that say
tagapagpasiya sa lipunetn, Ang ari pa ng mga babae, tulad ng kulay women are emotional, disorganized, and inefficient. Here are some of
ng babae ay nakatago, kung kaya't ng kurtina. Oayon din, ang posi* the most glaring examples of the typical office double-standard'
hindi madaling masaling; malaya yon nila sa pagtatalik ang nagpa-
siyang nakagagalaw. Papaloob ang pakita kung ano ang papel nila sa
direlrsyon nito, sagisag ng kanyang lipunan: sila ang nakatihaya, nag
kakayahang pagm uni-m unihan ang hihintay habang tinatrabaho ng
mga bagay-bagay at magbigay ng asawa. Dahil sa akto ng pagtatalik The family picture is on HIS The family picture is on tlER
mahusay na kapasiyahan Sa pag- napapaloob ang kanilang ari sa desk: desk:
tatalik, ang ari niya ang sumasa- ari ng babae, Iaging sinasabi sa A solid, responsible family man. Hmm, her family will come before
kop sa ari ng lalake, sagisag din kanila kapag sila'y ikinasal: "FIag her career.
ng kanyang pananagutang sakupin pasakop kayo sa inyong mga
ang mundo. Qayon din ang posi* asawa..."
yon sa pagtatalik na nakapagbi- tlIS desk is cluttered: tler desk is cluttered:
bigay sa kanya ng higit na kasiya- Sa Kagawasan, isang masa- He's obviously a hard worker and She's obviously a disorganized
han: siya ang nangingibabaw sa yang pangyayari ang pagkal<aroon a busy man. scatterbrain.
Ialaki tulad ng pangingibabaw niya ng anak na babae: "l7ayan," wika
sa kalikasan. ng mga ina, "may magdadala na
ng pangalan ko." /4t nangarngarap tlE'S talking with co-workers: SHE'S talking with co-workers:
Samantala, dahil walang kaka- na sila sa paggtng Pangulo balang He must be discussing the latest She must be gossiping.
yahan ang lalaking magdalantao at araw ng kanilang anak, flasaya rin deal.
magpasuso, at dahil ang babae na sana ang pagkakaroon ng anak na
ang nagsusugal ng buhay sa pa- Ialake, dahil magkakaroon ng isa
nganganak, makatarungan lamang pang katulong sa gawaing-bahay lf E'S not at his desk: StlE'S not at her desk:
na sa kalalakihan na ipaubaya ang ang mga iilna; ngunit kung bakit l-le must be at a meeting. She must be in the ladies' room.
pagaalaga at pagpapalaki sa mga napapaluha ang mga ama kapag
anak. Bukod pa rito, nalilimitahan nakitang lalake ang kanilang mga
ang kanilang mga galaw ng kanil- supling" at naibibigkas ang: "l-leto llE'S not in the office: StlE'S not in the office:
ang ari: di tulad ng sa babde, na- na ang isa pang pambayad sa I lc's meet.ing customers. She must be out shopping.
kalawit ito at madaling mabasag. kasalananl"
 1

HE'S having lunch with the SHE'S having lunch with the APPENDIX 5
boss: boss:
He's on his way up. They must be having an aff atr.

THE OBSTACLE COUKSE

I

The boss criticized HtM:

He'll improve his performance.
The boss criti cized HER:
She'll be very upset.
TI.ID ISSUD IS:

HE got an unfair deal:

Did he get angry?
SHE got an unfair deal:
Did she cry?
ATTITI.JDDS
The multiple of discriminatory practices women
HE'S getting married: SHE'S getting married: experience in the paid labor force are sustained and
He'll get more settled. She'll get pregnant and leave, maintained by a web of prejudicial attitudes that define
and confine women to a secondary role in society. These
attitudes are reinforced through the educational and
HE'S having a baby; SHE'S having a baby: training opportunities made available to women and are
He'ff need araise. She'll cost the company money in major obstacles to action and legislation designed to
maternity benefits. remedy the economic inequities women experience. For
example:
tlE'S leaving for a better job: SHE'S leaving for a better job:
He recognizes a good opportunity. Women are undependable.

PEKSONAL OPINION : PUBLIC POLICY

woman's Only hire a woman worker if

home there Ne no men
available for the job

Woman nimble A wom an' s place is on the

assembly line or at the
typewriter

Women are highly emotional Keep women out of

and cry whert they are managerial positions
tr 1r.st: t
 Women are nurturin$: they Women wanted for the APPENDIX 6
love to take care of following positions:
others secretary, nurse,
4 waitress
FOK EVEKY WOMAN
Women's salaries are lf a woman is hired, we can
by Nancy Smith
supplementaryz their pay her less
husbands earn money

6 to suppoft the family

for every woman
who is tired of acting weak
Women are undependable. Hire women as paft-time or when she knows she is strong
They frequently miss contract workers. That there is a man
work because of home way, we need not pay who is tired of appearing strong
and child benefits or provide job when he feels vulnerable.
0 responsibilities. development
for every woman
who is tired of acting dumb
All women want to get Don't waste tirne or money there is a man
married and raise training women for who is burdened with the constant

7 families greater responsi bi l ities expectation of ' knowing everything"

for every woman

Women are not 'team' Keep women in inside jobs. who is tired of being called
players; they don't know Do not put them in "an emotional female"

I
how to negotiate or positions of im portance there is a man
operate by business where they will represent who is denied the right
rules the organization \ to weep and be gentle
for every woman
Women know how to take There is no need to consult who feels "tied down" by her children
orders; they are women about the work there is a man
accustomed to this from they do; just direct who is denied the full pleasure
their husband, brothers them, tell them what of shared parenthood.
0 and fathers to do
for every woman
who is denied meaningful
O utspoken, self-confide nt tlire docile, subservient employment and equal pay
women are women without much there is a man
troublemakers self-confidence who must bear full financial
[0 rcs po n si bi l itv for a n oth er
Ir rrrlritn Jlcing.
for every woman APPENDIX 7
who was not taught the
intricacies of an automobile,
there is a man
who was not taught the
satisfaction of cooking.
WHAT IS TO BE DONE?
FOR EVERY WOMAN
Program for Advocacy
WHO TAI{F^S A STEP TOWARD
IIER OWN LIBERATION,

TIIERE IS A IVIAN
WHO FINDS THAT TIIE WAY
TO FREEDOM HAS EEEN IVII\DE PKINCIPLES
A LITTLE EASIER.
l. The right to grow
According to each one's capabilities and indinations
- elimination of gender stereotypes
- androgrny

2, Sexual &Reproductive Ffeedom

- sexuality that affirms self and others
- whether, when and with whom to have children

3, A Primary Group that Supports these Aspiratlons

(Family)

4. Etimination of Sexual Division of Labor

" Recognition & valori zation of reproductive work
- entry of women into productive sphere, men into productive sphere

AGENDA FOK CHANGE

l. Sexuat Division ol Labor

A. Valuation of reproductive work

l. Inclusion of reproductive work in GNP
2. Social supports for housework and child care
5, Development of household technology
4. Flexlble work affangements
Rcltr'llrtecl frorrr l)nl)er on 'Sex nttd Oender- by Ellen Dlonlslo.
1
II

B. Entry of women into productive work D. Religion

l. Training in non-traditional productive skills - sepzuation of church and state policy
2. Projects towards economic independence - personal choice, not imPosition
Access to productive technolory - transformation from within: rites, teaching, hierarchy
5. legislation of equal pay for work of equal value
C. Entry of men into houseworh retraining of men
STRATEGY
Il. The Family
l. Cotlective Action
A. Redefinition of basic unit of society
B. Social recognition and support for alternative household A. Organizing of Women
arrangements -,general issues
C. Revision of family laws and policies on: - gender issues
- domestic violence Women
- decision-making l. Separate women's organization
- control of economic resources Work
D. Redistribution of work within the family 2.
Women's group within organization
E. Social supports for victims of domestic violence 3.
Women's groups/committees within political groups and
F. Non-sexistchild-rearing pafties
B. Education
IIT. Sexuality l. Training of women in leadership and economic skills
2, Integfation of gender consciousness in education programs
A. Redefinition of sexuality towards stress on responsible choice
- laws
- policies
s iffiffi,:l1lilffi:T
issues
p between gender and sectoral/social

- media C. Mobilization
-religion alternative media
B. Population policy for educated reproductive choices and access - as base groups communal suPport
to these choices ICP
C. Strict appropriate penalties for sexual violence women's participation
D. Support for victims of sexual violence in organi zation

lV. ldeology - with other women's grouPs advocacy

- with other forces
A. Languager non-sexist - democrati zation
B. Education
- elimination of gender stereotypes in content and structures lt. Support for collective action
- retraining of men and women orientation
C. Mass Media A. Research empirical
- elimination of stereotypes theoretical
- projection of alternative images policy-oriented
 B. Tlansformation of institution for popular education APPENDIX 8
l. Critique and transformation of formal education
2, Critique and penetration of conventional media
lll. Personal Action COI.JKSE EVALUATION
A. Re-examination of consciousness and action
B. Non-sedst chilGrearing A. On the Objectives
C. Workplace
l. Where the objectives met?
SPEAI{EK: Ellen Dionisio
Yes ?aftially-No
Which objectives were not met?

2. Were your expectations met?

Yes No

Which of your expectations were not met?

-Partially

B. On the Contents

l. What topics did you feel most relevant to you?

2, What concepts would you like to be clarified further?

c. On the Methodotogy 2. Which activities (e.g. lecture, workshop, exercises, open forum,
etc.) were fadlitated well?
l. On the whole, how effective were the trainors/resource Persons
in handling and getting their inputs/topics understood?

Trainer/Kesowce Person Very Good Fair Poor

Qood

5. Which activities were not facilitated well?

a, Identify any outstanding display of strength by any trainor/

resource Person in this regard.

D. On Participation

l. How would you rate your own participation in the different

activities during the course?

Very good
Qood
b. Identify any outstanding display of weakness of any trainor/ Fair
resource person in this regard. Poor

What possible factors could have affected yow participation?

 2. How would you rate interpersonal relations among participants? Ir. What other course/workshop would you want to be
Very good offered to your organization/office?
Cood
Fair
Poor

3. tfow would you rate your relationship with the training staff?

Very good
0ood
Fair
Poor

What possible factors could have affected your relationship with

G. What other suggestions, not covered elsewlrere ln
the training staff.z
this form, do you have to further improve this
course/workshop?

E. Technical Matters
Very Cood Fair PooY
Cood Accomplished by:
Timeliness of the Course

Venue Name Signature

Sleeping Quarters/
Facilities Date Title of Course Attended

Food

Reading Materials/
Handouts