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Outcomes-Based Education: Onwards the Future

Since the turn of the new school year, the evident curriculum shift was felt almost anywhere in the campus. Some teachers were late for a few days because of having to urgently attend seminars. The course syllabi changed. A lot of teaching styles seemed a bit more creative and explorative—or at least, that’s what impressions say— and there was this strange tinge of mystery in the air that can’t seem to leave the ears of the students. OBE, the air whispers. Outcomes-Based Education.

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THIS time, it’s for the learners.

Since the turn of the new school year, the evident curriculum shift was felt almost anywhere in the campus. Some teachers were late for a few days because of having to urgently attend seminars. The course syllabi changed. A lot of teaching styles seemed a bit more creative and explorative—or at least, that’s what impressions say— and there was this strange tinge of mystery in the air that can’t seem to leave the ears of the students. OBE, the air whispers. Outcomes-Based Education.

A lot of students have heard of it already, felt it even. The “Overheard at UST” page in a social networking site has its own discussion thread about the matter. The new OBE system whispered in the air but never out loud in public. It could possibly be because not a lot of students are aware of what it really is, what it really does, and what it is really for. Teachers often open up about the new curriculum, yes, but never discussed it in details because of the complexity the subject entails.

Outcomes-Based Education, as the name implies, focuses more on the results of the subject matter than just being able to impart knowledge in the students taking them.

Believe it or not, OBE was already conceptualized in the University for a long time. Dr. Clarita D. Carillo, the Vice-Rector for Academic Affairs, further elaborates on the issue.

Before the OBE
Dr. Carillo told TomasinoWeb that the concept of learner-centered education already existed in the University for at least two decades, it’s just that the only action the University has done to reflect on this was to adopt a formal Outcomes-Based curriculum for her Engineering programs.

This is to align the University’s curricula with the initial desire of the Philippine Higher Education Institutions (PHEIs) and their own Engineering programs to qualify under the Washington Accord, which is an international accreditation agreement for professional engineering academic decrees since 1989. These efforts of Engineering date back to about five to six years ago, she adds, but the new trend of the OBE initiative began just last year.

The Initiating Spark
The Commission on Higher Education (CHED) Memorandum Order 46 s2012, called “Policy Standard to Enhance Quality Assurance in Philippine Higher Education through an Outcomes-Based and Typology-Based QA,” was the birth child of CHED’s OBE initiatives. The order ultimately came from a series of conferences between Higher Education Institutions (HEIs) and CHED, changing the focus of modern Philippine education from input-based to output-based.

The CHED Memorandum Order encompasses what is now known as the Outcomes-Based Education system that is being applied nationwide.

OBE: Behind the Scenes
As the term implies, the OBE focuses more on the outcomes of learning.

While the focus before is more on the inputs of the teaching-learning process—aiming on teachers, their facilities and their resources, among others—the OBE focuses on the outputs of learning instead. Examples are competencies acquired and developed by students and how these things become concrete and measurable to be applied in the future.

In planning the learning experiences of the students under OBE, teachers now create their class syllabi with the end in mind.

Dr. Carillo added that the release of the OBE caused a domino effect among the technical panels and committees that set the policies, guidelines and standards for academic programs nationwide. Even accrediting agencies are now starting to modify their evaluation methods to be consistent with the OBE principles.

Trainings and seminars aimed for the familiarization of teachers to the OBE are being done in the University by different colleges and faculties, and by the university-wide departments for the benefit of the General Education Faculty.

Outcome in Outcomes-Based
According to Dr. Carillo, the ASEAN 2015, the region’s own version of the Bologna Accord in Europe, obliges that our competencies should be at least be on par and consistent with the competencies expected of the various professionals we aim to release to the world.

The Bologna Accord seeks to enhance international cooperation and academic exchange in European nations. The ASEAN 2015, on the other hand, pursues to create regional economic integration between ASEAN member nations by 2015 to be able to help each other more effectively.

The OBE is currently viewed as a means to ensure better mobility and acceptability of our graduates and professionals in the region.

Faculties and teachers certainly need to adjust to this new approach, affirms Dr. Carillo, considering that for quite a long time, the educational system in the country has always been teacher-centered. “It will prove difficult, however, only in so far as it is new,” she said.

The University expects it would get easier for everyone to apply the new curriculum as we all get more familiar and used to it.

By Rhenn Anthony S. Taguiam with Reports from Claudette Z. Vianzon
Photo taken by Denise A. Sabio

 

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The Rise of Galvanize

“Unang-una, sumasayaw kami kasi masaya kami doon. So, kung ‘di na masaya, parang nawala na yung purpose mo sa sayaw.”

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Photo from Asian Hiphop Philippines Facebook page

Known for their numerous achievements starting off as champions in Step Up 2016, honing gold from UAAP Streetdance Junior Division and down to the most recent performance as a qualifier for the Asian Hip-hop 2020 in Hong Kong—this team still manages to bring home the bacon as it was recollected by Nina Reyes, Liya Escudero, Manuel Ilagan and captain, Jonas Belgica.

Behind every success is a group that started from humble beginnings, which was formed by Mr. Angelo Sicat back in 2016 when the newly added administration and system of Senior High School in UST was established.

Fronted by Coach John, the organization always brings out their best and never forgets their roots. Besides hip-hop, they also have a contemporary division in the team which is led by Coach Dany.

Keeping up with an outstanding record, the team manages to hold up with the demand for new members every year since Senior High School only has 2 academic years. Because of this, graduating Grade 12 members are to be replaced by new ones who still have two years in their hands.

Nevertheless, despite a short exposure they still aspire for one another most especially for new recruits, “Kini-keep pa rin po namin yung bond, parang ayaw namin ma-feel na leftout sila basta as one po kami nagw-work.

Additionally, they practice devotion and praying before every competition which shows how much they value their efforts and how thankful they are with the bond they have. With this connection, they can say that they are unique from other dance organizations because of the values they uphold which strengthens them, “Nilalagay namin sa center si God.

Just like other organizations, they feel that pressure is part of the process of performing most especially how they always manage to win over every competition that they can get their feet and hands on.

“‘Tas laging sinasabi ng coach namin na ang mahalaga is mag-enjoy kayo, na after ng performance wala kayong regrets. So, manalo-matalo, masaya pa rin naman po kami and hindi namin hinahayaan yung pressure na yun mabago yung mindset namin.”, as the members narrate how they deal with expectations from the public. Trust is what makes them serve the best moves in the stage.

When asked how they accommodate their academic responsibilities notwithstanding the countless hours they dedicate to training, they find a way to patch it up by helping each other out. The key to this is by communicating with teammates, “Parehas din ng struggle mo, like, if parehas kayo ng strand makakausap mo siya in a way na magtutulungan kayo for acads and tsaka time management.”

With loads of challenges and trials upon their shoulders, they admitted that there was a time wherein it did cross their minds that they wanted to quit. But then, each of them realized that staying is much more worth it than walking away from the passion that they have for dancing.

As Nina and Liya recalls enthusiastically, “Kasi pag passionate ka po sa ginagawa mo talaga, sometimes, yung physical mo ganyan yung mental mo. Parang ayoko na talaga pero parang you find yourself pa rin doing what you love parang nasa heart mo na talaga eh.”

Manuel even shared how he battled the fear of quitting, “Ipapa-realize talaga sayo ng coach mo kung ano yung purpose mo kung bakit ko ginawa yun kahit mahirap siya. Doon mo mare-realize na it’s for your dreams din, para din sa sarili mo, para sa parents mo, para maging proud sila sayo.

Kung hindi siya masaya, hindi siya sayaw. Kasi, unang-una, sumasayaw kami kasi masaya kami doon. So, kung ‘di na masaya, parang nawala na yung purpose mo sa sayaw,” as Jonas denotes what drives him more amidst the difficult problems he faces as the captain.

With the mention of training, it is understood that it takes a lot of work and practice to master the art of dancing but some still think that it doesn’t fall under the category of sports.

Kasi naging mainstream na yung basketball, yung volleyball ganon. As in yun na yung tinitignan na permanent sport, ganon yung mga tao kasi parang limited lang yung understanding nila to what dancing really is kasi tingin nila gagalaw-galaw lang yun pero hindi nila alam na may certain requirement and certain kind of preparation na kailangan mo gawin para ma-achieve mo yung ganong klaseng mga movements,” they said.

Jonas Belgica, Darlo Emmanuel Ilagan, Lia Resabella Escudero, and Niña Marie Reyes | Christine Annmarie Tapawan/TomasinoWeb

There has been a stereotype about dancers and competitions because people think that since dancing doesn’t require a person to lift weights and only perform on stage for around 4 minutes, it’s not fully regarded as a sport––which is not right because it also needs training and proper discipline. The same as the amount of hardwork and effort that is put into sports like basketball and other sports. 

They reiterated that educating people about what dancing is all about will greatly change this kind of mindset.

They hope that this would change but are still grateful for the support they receive most especially with the upcoming Season 82 UAAP Streetdance and the 2020 Asian Hip-hop competition this coming May.

Dancing, whatever the genre an individual chooses to exhibit, is both a sport and art that expresses words into graceful and prodigious movements up to any extent the body can procure.

Freedom.

Love.

Fulfillment.

Competence.

For them, these four words resonated the sensation of being a dancer of Galvanize.

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“William,” gleam of a timeless gem

UST Mediartrix breathes new colors to Ron Capinding’s “William,” a rap-musical blending the works of Shakespeare and modern day culture.

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Jacqueline Martinez/TomasinoWeb

Once again proving its shimmer, a buried classic is revived in the present-day consciousness. Combined with an artist’s sentimental attachments engraved with humanity and art, deeper reflectiveness manifests—a process evident in William, an eponymous musical on the works of William Shakespeare. 

Bringing home seven trophies from the 2011 Philstage Gawad Buhay awards, William comes back to the theater scene. Written by Ron Capinding, the rap-musical blends the flavors of the 17th century with modern day culture. 

Directed by Nico Varona, UST Mediartrix breathes new colors to the piece as it presents William from the Philippine Education Theater Association (PETA). To the Thomasian audience, Mediartrix extends a story that emphasizes the importance of appreciation to classical figures and their works like Shakespeare’s.  

Heightening the vibrancy of the play, Jeff Hernandez’s music incites excitement in the audience with its lively beats and catchy lyrics. Using rap as an element of a classical 17th century figure, William bites into the modern audience’s contemporary palette. The exemplary music blends hip-hop, jazz, rap and R&B together, with artists effortlessly executing the transition from spitting rap bars to melodramatic lyrics. 

Sewn with five stories of high school students, William portrays the struggles of studying Shakespeare. The typical student stereotypes were characterized with relatable backgrounds and common denominators with real people: sophisticated Sophia, varsity-cool-guy TJ, studious Estella, student leader Richard, and the timid Erwin—each burdened with personal conflicts. Portrayed by actors who specialized in owning their narratives, their lives meet Shakespeare’s masterpieces as they find themselves in catharsis. 

Jacqueline Martinez/TomasinoWeb

Jacqueline Martinez/TomasinoWeb

Some of Shakeapeare’s works were translated into Filipino, and it brings the audience closer to his literature. It breaks the walls of people who will instantly close the pages after getting bombarded by highfalutin terms. 

The classical treasures like Romeo and Juliet, and The Merchant of Venice unfolded different worlds that still mirror today’s through the sense of humility, forgiveness, and bravery. However, their timeless value to the social fabric is often overlooked. There is an inadequate initiative in immersing with pieces of literature especially from the youth, and that is where William becomes an instrument. It approaches you with rap verses from the monologues of Shakespeare, providing an avenue to understand him in the language of people’s entertainment. 

The musical relates to everyone, especially to students. It is a treat for people who are looking for a productive but fun way to distance from their readings and other academic demands. It fuels the motivation in tackling difficult subjects like Shakespeare, leaving its audience determined to overcome intimidation, and more appreciative of learning. 

Jacqueline Martinez/TomasinoWeb

Comfort zones kill potential, discomfort is enlightening. It is not always tiring to twist and turn entanglements to understand the classics because there are countless ways to feed the minds of those who are hungry for meaning. For instance, there is William that will walk its audience through Shakespeare in a smooth-sailing ship. The playwright, musicians, actors, and entire production poured their heart into building a bridge to stroll alongside Shakespeare, one just have to take their first step.

William is screened in the Albertus Magnus Auditorium, University of Santo Tomas. The last showing will be on Feb. 1, 2020: 11AM, 3PM, and 7PM. Tickets are sold for 150 pesos only, and Mediartrix also offers ticket packages and discounts for those who will watch in groups. For ticket inquiries, contact UST Mediartrix for more information.

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Sila-Sila in its spectrum

Being under the constant waves of change, companionship paves through distances and personal struggles. The movie emphasizes that ‘ghosting’ also happens between friends and rekindling episodes are a challenge.

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Screengrab from Sila-Sila movie trailer

Giancarlo Abrahan’s entry for Cinema One Originals Film Festival Sila-Sila is a groundbreaking film that sprouts a queer narrative molded by queer people. Anchored to the intimate stories of real people, this ghosting film pierces through the lens of post-breakup experiences.

Its lead actors, Gio Gahol and Topper Fabregas had a harmonious rhythm as Gabriel and Jared inside one frame. With Gab being helplessly displaced and Jared as someone who craves settlement, they were in an endless loop of push-and-pull, making every scene burst in different colors of expectations.  

The film revolves around the story of Gab (Gahol), as he tries to reconcile with his friends (Phi Palmos and Dwein Baltazar) and his ex-boyfriend, Jared (Fabregas) after ‘ghosting’ them for almost a year. Fueled by guilt and regret, the old lovers find themselves igniting a fire that once burned the bridges that connected their lives.

Five minutes in and the sensual relationship between Gab and Topper will cuff the audience with its bare exposure of same-sex actualities. These characters played by both theater artists allow the scenes to flourish with remarkable nuance.

The scenarios in the film allow you to peek at realities that manifest through Gab’s life as a person who fails to find his roots being settled in one place. As his portrayal walks you through the story of uncertainties, the progress of the film lets you trace into a deep contemplation whether or not you may be the Gab or Jared in your own story.

Despite having fragments of scenarios that lowers the momentum of the film, it serves as a breath of fresh air as Gab undergoes the phase of vacillation. Gab’s journey of finding a home in people he once felt was is a cycle anyone can relate to. His doubts linger in trust issues and the feeling of not belonging. It soon uncovers that the quest of settling in places, people, and experiences will be unending unless one finds their sense of home.

Phi Palmos and Dwein Baltazar’s characters are spices to the story as they portray a decade-long friendship of overcoming tendencies. Being under the constant waves of change, companionship paves through distances and personal struggles. The movie emphasizes that ‘ghosting’ also happens between friends and rekindling episodes are a challenge.

Sila Sila won the Best Picture Award. Its undeniably well-plated palette satisfies the eye of the audience. A lot of scenes will tickle one’s humor especially if you are used to friendships that blatantly roast each other as a way of showing one’s love language.

Alongside its award-winning cinematography, Sila Sila also received the Audience Choice Award and Best Screenplay by scriptwriter Daniel Saniana. Also, Fabregas was recognized as Best Supporting Actor for his role.

“We’ll always love each other, however it manifests, it’s just always going to be there.”, this line by Jared carves through the hearts of those who had to let go of a person but never the love that they have for them. Gab’s relationship with Jared shows that there is never just one way of loving someone. Every day, with every version of themselves, love prevails. 

Distance can never make things small. It only deceives you from thinking that you’ve escaped your troubles. One way or another, you will find yourself crawling back because time never lets anyone off its claws—Sila-Sila teaches this. Furthermore, sometimes, having no closure is not the closure.

The character of Gab serves as an example that a person will remain trapped in the past unless they find closure from people and from themselves. People are bound to face the naked truth that we need to find our sense of home in this world that is full of broken fragments of imperfect individuals.

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