kabisdak: trumpeta

3.26.2010

trumpeta

(alang ni MU1 Brandon Zwolinski Almagro, Brass Quintet,
United States Navy Band Concert,Avon Park, Florida, 3/15/2010)

ang alingawngaw sa gihuyop nga salirawang pagbati
nanuhutsuhot sa kinauyokang ugat sa tawhanong kalimbatianon
nakigduhawit sa antik budyong gahunghong tadlas sa piliw
sa kalawran sa dalaguete 66 anyos kanhi
kaamgid sa hinagawhaw sa yinagubyob sa daligdig sa tubig
sa dagayday sa busay ug kasapaan sa hinaganas ug tapyatapya
sa mga balod sa kinanaas sa kadahonang gitagsatagsa
pagpakli sa rapsodiyang hutuhot kansang kundimanong sonanoy
gasapnay sa konsiyertong tingpamulak sa new berlin wisconsin
lahos ngadto sa nagkahinayng laylay sa nagkahanawng melodiya
sa sentimental hinikalimtang lorain ohio
si kinugos brandon ug iyang lisatrumpeta
nagmilagro na
tarantella emma

-- MELQUIADITO M. ALLEGO
Palm Harbor, Florida, USA

1 comment:

M said...: apas-sumpay/pamahayag:
(1) tarantella: collection of haunting melodies played by the brass
quintet, brandon being the soloist in 2 of them.

(2) emma: first-born daughter of brandon and lisa

(3) also dedicated to my close poetfriend ury almagro and his lovely
wife Amy who looks like Ali MacGraw.

-mananambalak; March 28, 2010 at 7:23 AM

hagit sa handurawan

"Reimmersion (in native culture) is not an end in itself; it is to define more clearly the native grounds on which the Cebuano poet stands, the local parameters of language and experience, toward the end that he can stand in the world confident in the singular value of his own voice...

To conserve and extend the resources to which the Cebuano poet is heir by enhancing the natural rhythms of native speech, cultivating the rich concreteness of dialect, and confronting the particulars of his social experience...

The Cebuano poet today does not come upon a language that is already there, ready to use; he has to recreate it not only out of the rawness of daily speech but summon out of language that which has already fallen away from common consciousness and use."

-- Dr. Resil Mojares,
"Cebuano Poetry: Looking Backward, Forward."

matod nila, mando nato

"What could I say at all without my roots?... What could I say without coming to ground?... and I took no journey other than the return."
-- Pablo Neruda

"And the end of all our exploring will be to arrive where we started and know the place for the first time."
-- T.S. Eliot

"The work of language deserves our greatest care, for the tongue’s fire may devour the world, or may light the way."
-- Scott Russell Sanders

"Memory that yearns to join the centre, a limb remembering the body from which it has been severed, like those bamboo thighs of the god… The personal vocabulary, the individual melody whose metre is one's biography, joins in that sound, with any luck, and the body moves like a walking, a waking island."
-- Derek Walcott

"We ascend, from the infinite pit of our perceptions, to the finite life of words."
-- William Bronk

salo-salmot

Ari mo! Ambi, atong tilawan ang imong tampo. Palihog ipadala lang ang tinagik nga balak ug sugilanon ngadto sa geemyko@gmail.com.

Kinahanglang bag-o pang haon ang mugna nga imong buot idalit. Ang tigpasiugda ug tigdumala (moderator) niining balayan gapanilap sa katungod nga mopili ug modumili sa tampo. Tugotan pod unta siya og higayon nga mosugyot pagdugang og asin kon matab-angan usahay, pasabwan kun paughan gamay imong hinukad. Mao'y tumong ining balayan ang mamugnaong paghalingay ug pagsaw-anay sa atong gidalit. Kon gibalibaran, palihog ayaw og tyabaw. Ayaw tawon pamaak. Lagmit wala lang mobukal ang lana sa tigdumala kabahin sa timailhan sa tinuod nga wakwak.

sa makausa pa

"Reimmersion (in native culture) is not an end in itself; it is to define more clearly the native grounds on which the Cebuano poet stands, the local parameters of language and experience, toward the end that he can stand in the world confident in the singular value of his own voice...

To conserve and extend the resources to which the Cebuano poet is heir by enhancing the natural rhythms of native speech, cultivating the rich concreteness of dialect, and confronting the particulars of his social experience...

The Cebuano poet today does not come upon a language that is already there, ready to use; he has to recreate it not only out of the rawness of daily speech but summon out of language that which has already fallen away from common consciousness and use."
-- Dr. Resil Mojares,
"Cebuano Poetry: Looking Backward, Forward."