Contact Us
Contact Us
Contact Us

Popular Keywords

Categories

No Record Found

View All Results

GUEVARA, Nerisa D.

GUEVARA, Nerisa D.

Updates

Guevara of CCWLS, AB is first Filipina feted with Kelana Residency

Guevara of CCWLS, AB is first Filipina feted with Kelana Residency

Assoc. Prof. Nerisa del Carmen Guevara of the Center for…

Read more
More Updates

Assoc. Prof. Nerisa D. Guevara, MA

Department of Literature | Research Center for Culture, Arts, and the Humanities

ndguevara@ust.edu.ph

Academic Qualifications

Research Highlights

Research Interests

Academic Qualifications

Degrees

  • Master of Arts in Creative Writing, University of the Philippines – Diliman, Quezon City, Philippines, 2004
  • Bachelor of Science in Biology, University of Santo Tomas – Manila, Philippines, 1993

Research Highlights

  

Research Interests

  • Art Appreciation
  • Asian Art
  • Creative Writing
  • Elegies
  • Literature
  • Poetry
  • Performance Art

Performance Highlights

Performance Highlights

Elegy 9: Ghost of the Sea (Hantu Laut) is closely related to the beliefs of the Mandar coastal community about Kaoau, the ghosts who inhabit the seas. Humans cannot completely conquer the oceans throughout history. This is why mythological creatures are often presented in folklore to cover the gap in this inability. Title: Elegy 9: Ghost of the Sea (Hantu Laut) – October 20 – November 20, 2019 Installation Art Cemeti Institute for Arts and Society Biennale Jogja
Elegy 9: Ghost of the Sea (Hantu Laut) is closely related to the beliefs of the Mandar coastal community about Kaoau, the ghosts who inhabit the seas. Humans cannot completely conquer the oceans throughout history. This is why mythological creatures are often presented in folklore to cover the gap in this inability. Title: Elegy 9: Ghost of the Sea (Hantu Laut) – October 20 – November 20, 2019 Installation Art Cemeti Institute for Arts and Society Biennale Jogja
Elegy 9: Ghost of the Sea (Hantu Laut) is closely related to the beliefs of the Mandar coastal community about Kaoau, the ghosts who inhabit the seas. Humans cannot completely conquer the oceans throughout history. This is why mythological creatures are often presented in folklore to cover the gap in this inability. Title: Elegy 9: Ghost of the Sea (Hantu Laut) – October 20 – November 20, 2019 Installation Art Cemeti Institute for Arts and Society Biennale Jogja
Elegy 9: Ghost of the Sea (Hantu Laut) is closely related to the beliefs of the Mandar coastal community about Kaoau, the ghosts who inhabit the seas. Humans cannot completely conquer the oceans throughout history. This is why mythological creatures are often presented in folklore to cover the gap in this inability. Title: Elegy 9: Ghost of the Sea (Hantu Laut) – October 20 – November 20, 2019 Installation Art Cemeti Institute for Arts and Society Biennale Jogja
A repetitive gesture that can be interpreted as either a welcome or a barrier, surrender or resistance, on the controversial 700-meter Tanggul (embankment), the continuing Infinite Gestures: Tanggul breaks action in time and space into four screens.
A repetitive gesture that can be interpreted as either a welcome or a barrier, surrender or resistance, on the controversial 700-meter Tanggul (embankment), the continuing Infinite Gestures: Tanggul breaks action in time and space into four screens.
A repetitive gesture that can be interpreted as either a welcome or a barrier, surrender or resistance, on the controversial 700-meter Tanggul (embankment), the continuing Infinite Gestures: Tanggul breaks action in time and space into four screens.
A repetitive gesture that can be interpreted as either a welcome or a barrier, surrender or resistance, on the controversial 700-meter Tanggul (embankment), the continuing Infinite Gestures: Tanggul breaks action in time and space into four screens.
By playing with the word ‘hati-hati’, Nerisa wants to emphasize the power relations that exist within borders, how a border is defined by tension between past and future, belief and disbelief, lie and truth. Hati means heart (IND)m Hati-Hati means be careful or dangerous (IND) to divide equally, to portion (PH). While Hati means half (PH).
By playing with the word ‘hati-hati’, Nerisa wants to emphasize the power relations that exist within borders, how a border is defined by tension between past and future, belief and disbelief, lie and truth. Hati means heart (IND)m Hati-Hati means be careful or dangerous (IND) to divide equally, to portion (PH). While Hati means half (PH).
By playing with the word ‘hati-hati’, Nerisa wants to emphasize the power relations that exist within borders, how a border is defined by tension between past and future, belief and disbelief, lie and truth. Hati means heart (IND)m Hati-Hati means be careful or dangerous (IND) to divide equally, to portion (PH). While Hati means half (PH).
By playing with the word ‘hati-hati’, Nerisa wants to emphasize the power relations that exist within borders, how a border is defined by tension between past and future, belief and disbelief, lie and truth. Hati means heart (IND)m Hati-Hati means be careful or dangerous (IND) to divide equally, to portion (PH). While Hati means half (PH).
The one-month residency brought three Indonesian artists and one international artist to West Sulawesi to experience and study the culture, practices, ecological and political issues of the coastal people and areas.
The one-month residency brought three Indonesian artists and one international artist to West Sulawesi to experience and study the culture, practices, ecological and political issues of the coastal people and areas.
The one-month residency brought three Indonesian artists and one international artist to West Sulawesi to experience and study the culture, practices, ecological and political issues of the coastal people and areas.
The one-month residency brought three Indonesian artists and one international artist to West Sulawesi to experience and study the culture, practices, ecological and political issues of the coastal people and areas.
The one-month residency brought three Indonesian artists and one international artist to West Sulawesi to experience and study the culture, practices, ecological and political issues of the coastal people and areas.
The one-month residency brought three Indonesian artists and one international artist to West Sulawesi to experience and study the culture, practices, ecological and political issues of the coastal people and areas.
“Guevara's four-hour-long performance "Elegy #8 — The Pacific Ocean" explored the relationship between the artist's body and the representation of the ocean on the screen. …the simulacra of the augmented reality in this performance of grief and solitude, that what he presents as the anxiety of the virtual. The representational image of the ocean serves not as a backdrop, but as the simulacra for a memory.” - Yuan Mor’O Ocampo, Episodi: Signatures vol. 6. 2019
“Guevara's four-hour-long performance "Elegy #8 — The Pacific Ocean" explored the relationship between the artist's body and the representation of the ocean on the screen. …the simulacra of the augmented reality in this performance of grief and solitude, that what he presents as the anxiety of the virtual. The representational image of the ocean serves not as a backdrop, but as the simulacra for a memory.” - Yuan Mor’O Ocampo, Episodi: Signatures vol. 6. 2019
“Guevara's four-hour-long performance "Elegy #8 — The Pacific Ocean" explored the relationship between the artist's body and the representation of the ocean on the screen. …the simulacra of the augmented reality in this performance of grief and solitude, that what he presents as the anxiety of the virtual. The representational image of the ocean serves not as a backdrop, but as the simulacra for a memory.” - Yuan Mor’O Ocampo, Episodi: Signatures vol. 6. 2019
“Guevara's four-hour-long performance "Elegy #8 — The Pacific Ocean" explored the relationship between the artist's body and the representation of the ocean on the screen. …the simulacra of the augmented reality in this performance of grief and solitude, that what he presents as the anxiety of the virtual. The representational image of the ocean serves not as a backdrop, but as the simulacra for a memory.” - Yuan Mor’O Ocampo, Episodi: Signatures vol. 6. 2019
“Guevara's four-hour-long performance "Elegy #8 — The Pacific Ocean" explored the relationship between the artist's body and the representation of the ocean on the screen. …the simulacra of the augmented reality in this performance of grief and solitude, that what he presents as the anxiety of the virtual. The representational image of the ocean serves not as a backdrop, but as the simulacra for a memory.” - Yuan Mor’O Ocampo, Episodi: Signatures vol. 6. 2019
“Guevara's four-hour-long performance "Elegy #8 — The Pacific Ocean" explored the relationship between the artist's body and the representation of the ocean on the screen. …the simulacra of the augmented reality in this performance of grief and solitude, that what he presents as the anxiety of the virtual. The representational image of the ocean serves not as a backdrop, but as the simulacra for a memory.” - Yuan Mor’O Ocampo, Episodi: Signatures vol. 6. 2019
“Guevara's four-hour-long performance "Elegy #8 — The Pacific Ocean" explored the relationship between the artist's body and the representation of the ocean on the screen. …the simulacra of the augmented reality in this performance of grief and solitude, that what he presents as the anxiety of the virtual. The representational image of the ocean serves not as a backdrop, but as the simulacra for a memory.” - Yuan Mor’O Ocampo, Episodi: Signatures vol. 6. 2019
“Guevara's four-hour-long performance "Elegy #8 — The Pacific Ocean" explored the relationship between the artist's body and the representation of the ocean on the screen. …the simulacra of the augmented reality in this performance of grief and solitude, that what he presents as the anxiety of the virtual. The representational image of the ocean serves not as a backdrop, but as the simulacra for a memory.” - Yuan Mor’O Ocampo, Episodi: Signatures vol. 6. 2019
Infinite Gestures: Looban introduces the concept of Loob (inside) and Looban (a narrow pathway, a non-place between squatter houses leading to the vague Labas/outside) as video re-enactment of the flight of Kian to his site of death by shooting.
Infinite Gestures: Looban introduces the concept of Loob (inside) and Looban (a narrow pathway, a non-place between squatter houses leading to the vague Labas/outside) as video re-enactment of the flight of Kian to his site of death by shooting.
Infinite Gestures: Looban introduces the concept of Loob (inside) and Looban (a narrow pathway, a non-place between squatter houses leading to the vague Labas/outside) as video re-enactment of the flight of Kian to his site of death by shooting.
Infinite Gestures: Looban introduces the concept of Loob (inside) and Looban (a narrow pathway, a non-place between squatter houses leading to the vague Labas/outside) as video re-enactment of the flight of Kian to his site of death by shooting.

Courses Handled

Major Recognitions

Professional Activities

Courses Handled

Undergraduate Level

  • Art Appreciation
  • Art, Man, and Society
  • Asian Art
  • Creative Writing
  • Introduction to Poetry
  • Jewels of Asian Literature
  • Literary Types and Forms
  • Poetry Workshop

Major Recognitions

  • 2018 Muriel Craft Bailey Poetry Award – Finalist, COMSTOCK REVIEW, New York, USA
  • 2006 The New Generation of Filipino Women Writers ALIWW, Ateneo de Manila University
  • 5th Madrigal Gonzalez First Book Award, Likhaan U.P. Institute of Creative Writing – Finalist
  • 2005 National Book Awards for Poems 2005 – Finalist, 27th Catholic Mass Media Awards (Best Secular Album – Special Citation)
  • 2004 22nd Pyongyang DPRK April Spring Art Friendship Festival, Pyongyang, North Korea (Silver Cup in Dance Solo) 
  • 1999 Carlos Palanca Memorial Awards for Literature 1999 (Poetry in English Category)
  • 1994 Thomasian Poet of the Year and First Runner-up Rector’s Award, USTETIKA, University of Santo Tomas, Manila

Professional Activities

  • International Performance Artist and Writer
  • Board Member, Tao Foundation for Culture and Arts
  • Member, Philippine Center of International PEN
  • Member, Asia-Pacific Writers and Translators
  • Member, Northeast Modern Language Association

Selected Publications

Selected Publications

  • Poem: “The Uncommon Becoming Looking Back” in Voice & Verse Poetry Magazine, Issue 52, March/April 2020
  • Poem: “Because Somewhere It is Winter” FALL / WINTER ISSUE 2018, COMSTOCK REVIEW, New York, USA, 2018 (Finalist – Muriel Craft Bailey Poetry Award)
  • Poem: “Here is the Story, Here is the Stone”, WRITING THE PHILIPPINES CHA: An Asian Literary Journal, Hongkong, June 2018
  • Short Story: “The Venus Fly Trap”, WRITING SINGAPORE CHA: An Asian Literary Journal, Hongkong, September 2018
  • Poem: “The Archangel Gunita” TOMAS, 2018-2019
  • Poem: “How the Moon and Stars Came to Be” TOMAS, 2018-2019
  • Poem: “The Poet Looks at Herself in a Mirror” TOMAS, 2018-2019
  • Reaching Destination – Poems and The Search for Home UST Publishing House, 2004

The University of Santo Tomas is one of the leading private research universities in the Philippines and is consistently ranked among the top 1000 universities in the whole world. With academic degrees and research thrusts in the natural, health, applied, social, and sacred sciences, as well as business and management, the University continuously strives to make a positive impact on the society.

Visit Us:
Espana Blvd., Sampaloc, Manila, Philippines 1008

Be Informed. Subscribe.

Send us your feedback

© Copyright 2019. University of Santo Tomas. All Rights reserved. | Powered by Communications Bureau