This is an intermediate class with emphasis on the four basic skills: listening, speaking, reading, and writing. The course uses the functional-situational approach in learning a language.The students will learn four necessary skills in the effective use of Filipino: paglalahad (defining and explaining); paglalarawan (describing a person, place, or feelings); pagsasalaysay (narrating a story); and pangangatwiran (arguing). The vocabulary of the student is expanded through sample dialogues and short essays.

Do you know the words nanay (mother), tatay (father), sinigang (sour soup), masarap (delicious), and kawawa (poor you)? Would you like to better communicate with your grandparents who speak Filipino and only have a limited knowledge of English? You may be a heritage learner, or a person with a cultural connection to the language. Filipino 1X WBL is an elementary Filipino class designed for heritage learners. It is the first course in the elementary Filipino for Heritage Learners sequence (Filipino 1X and Filipino 1Y).

Filipino 1A is the first semester in the Introductory Filipino two-semester series (Filipino 1A and 1B). This is a beginners’ class with emphasis on the four basic skills: listening, speaking, reading, and writing. The course uses the functional approach in learning a language.

Have you tasted sinigang, lumpia, adobo, or for the adventurous, even balut? This seminar course focuses on Philippine cuisine and literary works that use Filipino food as inspiration, theme, or metaphor. Each class uses a particular dish, cooking method, or Filipino ingredient as a starting point in the discussion of Philippine literature, culture, and history. Each lesson has several components: a literary text, recipe/s, a participative class activity and an essay(s) that will help the students to have a better understanding of Philippine society.

Have you ever wondered why the homes of Filipino families in the United States display religious statues or celebrate Christmas and Lent in a different way from other Christians? Have you read Filipino poems, stories, songs, and festivals that focus or mention Babaylan spritual leaders, the Virgin Mary, the Black Nazarene, the infant Jesus or the Muslim faith?

This graduate seminar is a survey of historical work on Philippine nationalism from the nineteenth century until the present. It covers the rise of liberal creole movements in the early nineteenth century, Jose Rizal and the ilustrados of the late nineteenth century, the Philippine revolution of 1896, American-era “Filipinism,” postwar liberal state-formation, Moro separatism, debates on “the Chinese question,” competing visions of socialist and authoritarian nationalism during the Marcos period, and contemporary populism under Rodrigo Durerte, among others.

This course looks into the dynamics of literature and politics in Vietnam and the Philippines by asking the following questions:  How have writers articulated their beliefs on colonialism, human rights, gender and class through poetry and fiction? When does ideology inform literary techniques?  How can we study specific genres such as prison literature, guerrilla literature, and underground newspapers and literary magazines?

The course focuses on Southeast Asian Performance, specifically Indonesian dances, and Philippine theater and music.  Discussions shall be guided by the following questions:  How have geography, religion, social structures, customs, and beliefs shaped indigenous performing art forms?  How are performing traditions revitalized in contemporary times? How have experiences of colonialism and social movements informed the work of performing artists? How can we read/view these works today?

This new, interdisciplinary seminar invites you to explore African American voices and visions of the Vietnam war through oral history, music, fiction, poetry, cinema and other primary sources.

In this seminar we will examine contemporary Southeast Asian society and culture through the lens of contemporary Southeast Asian films from two countries -- Vietnam and the Philippines.  In discussions about the films in class we will seek to understand how these films mirror modern and traditional aspects of the societies in which they were produced.  We will also consider the films as examples of current world cinema and vehicles of storytelling.