THE GREAT FLOOD OF MANILA

Emptiness...


...is seeing humanity underwater...


[image source 1]
[pics 2,3]
[pic 4]



"People wade in the chest deep floodwater Sunday, Sept. 27, 2009 in suburban Cainta, east of Manila, Philippines. Rescuers plucked bodies from muddy floodwaters and scrambled to save drenched survivors on rooftops Sunday after a tropical storm tore through the northern Philippines and left 75 people dead or missing in the region's worst flooding in more than four decades. (AP Photo/Mike Alquinto)" (from here)

I haven't settled in yet on my routine: film blogging. My experience last Saturday was unsettling enough, not just for me, but for my other friends who were somewhat stuck between fear and paranoia, unable to shake off their experiences of wading in the flood, and witnessing the city of Manila in complete turmoil. Saturday was in fact the biggest day of the year for me and for most of us who have witness the horror and pain. But look at us, we are still here, I am still here writing a post to tell it all.

WEDNESDAY, September 23, 2009
An grim prediction

It was Wednesday, upon exiting room 307 of the Engineering building, when i exhorted over a group of my Chemical Engineering classmates that my life would change in about 72 hours (that is, 3 days from that day, Saturday, September 26, 2009) for I was anticipating the biggest event that i would be organizing in my entire life --- the PSYSC Science Olympiad National Finals (here) and (here). The Top 20 schools from both Elementary (Grades 5 to 6 or 7) and High School (3rd year to 4th year) Levels from all over the country screened from the recently concluded PSYSC National Eliminations last September 5, 2009, would be competing in the National Finals at the SM Mall of Asia by that time.

FRIDAY NIGHT, September 25, 2009
PRE-PSO FINALS PREPARATIONS


The half of the PSO team, a small group of four eager college students volunteers from UP Diliman namely Kim, San, Mona and me, and with the help of other eager students, and members of the PSYSC ECAT team, were preparing everything: AVPs to be edited and crafted, certificates of recognition to be printed, practical exams to be arranged in boxes and containers separated per category, questions to be reviewed and discussed, and so on. Each tasks were equally distributed among us, and I was given all the Engineering work. So i worked with the AVPs and all. By 10 PM we were asked to move out of preparation venue and camped out at the Mall of Asia for yet another preparation. I was tasked to leave all Eng'g work and find a taxi. I asked Mona to help me out and we walked in the middle of rain along A. Roces Avenue inside the campus and I felt something bad.

I expressed to Mona my inhibited feeling about the unending rain that began a few hours ago:

"I feel bad about this long and unending rain. I prefer a one time, big time downpour than a slow, retarded heavy downpour. What do you think?" She agreed.

I found a taxi a few minutes later. Kim and San went ahead of us three which included Anacel being our auditor/acquisition/supplies manager, Mona and me. We carried pertinent stuffs such as printers, LCD projector screens, bond papers etc stuffing everything that fitted inside the taxi. We brushed through C5 high way unaware of the building traffic jam. We detoured to EDSA Avenue and went straight to the Mall of Asia arriving at about 1100PM. Maam Rhea, SM Mall of Asia Marketing/Events organizer of the Nido Discovery Center helped us set up the chairs for the venue. We worked 'till 100AM and moved to the nearest McDonald's 24-hrs outlet and stayed there before dawn strikes.

I was busy fidgeting Vegas to finish the AVP for the opening program when my battery died. I suggested that we moved to the nearest Starbucks franchise for the benefit of an electrical socket. We went there but it was closed. Dreaded by a dead laptop and the few ticking hours before the opening program, i prayed hard that i would finish the AVP. And I prayed, and prayed, and prayed that everything would be okay...

SEPTEMBER 26 - PSO Proper
The Reckoning of the Sky

I finished the AVP by 7AM, an hour before the Opening program. The rain poured aggressively outside of the venue proper as the program progressed. I assisted Hansel in operating the technical stuffs. The rest of program pushed through, unaware of the coming tragedy, a reckoning of the sky.




-----o - o - o -----
Josette's struggle with the Storm
[adapted from the true story of Josette Ann Baconguis]



Her class ended at around 1130AM, she ate lunch at the UP shopping center wishful to arrive at the event's proper by around 1PM just in time to help out in all things necessary. She waited for a jeepney that would take her to the nearest MRT station.

She was wearing her formal wear. She scrupulously arrange her hair as the rain drenched her umbrella. The jeepney driver, suggested that he cannot take any passengers outside of the campus because the water was rising. Unaware, she insisted and explained that she had to go to the MRT. Beside her was a graduate student with a bruised leg whose destination was Cubao.

The jeepney skidded off unable to contain the accumulating passengers whose eyes were struck with offish oddity. In their minds were shear pictures of Philcoa, the gateway of all commuters to different parts of Manila, under three feet of water.


Water level rose at chest levels.

Josette had this picture in her mind that time, but her spirits were awaken by the necessity of her presence in the event at the PSO Finals in the Mall of Asia. She was very determined to get there no matter what. The woman with a bruised leg, Michel, joined her insistence to find a cab that would take them to their destinations.

Finally, a taxi cab stopped in front of them and promised to take them to the nearest jump off point. It was 200PM, two hours after her lunch. The taxi halted at Central where the flood level was below their knees, enough for them to sally through the clammy waters. Michel hesitated at first sight, her wound, fresh from the surgical knife from her past medical operation, would open up and the risk of contracting the deadly Tetanus virus was high.

As the flood waters went up, they waited for aid, and luckily a private vehicle stopped and fetched them to the nearest mall where the water level had not yet risen.

2:30 PM. They waved for all kinds of vehicle passing through Commonwealth Avenue, and nothing, not even buses or dump trucks were kind enough to let them hitched a ride to the nearest MRT station. Many stranded passengers joined them and waited for a miracle. A jeepney headed to the MRT station offered the empty seats to the passengers on the street. Josette and Michel were lucky to sat on the last seats.


Philcoa


Philcoa - flooded.

By the time they arrived at Philcoa, everything was in chaos. The traffic scheme was jammed, the usual route of the Quezon City Circle's counter clockwise traffic was blocked by criss-crossing buses, trucks, and vehicles. Josette's eyes were clouded with fear. She never saw Philcoa in such a dismal scenery: garbage floating here and there, college students soaked in their school uniforms, horns of cars and medium-weight vehicles clamored in their highest decibels. She covered here ears as she and Michel went out of the jeepney to do the impossible----to walk towards the MRT station two kilometers away in knee-deep waters.

Kim, a fellow friend of mine, described Philcoa as it was last Saturday in his September 27th post on his blog. He wrote with candidness:
"...Philcoa was a scene I thought only seen in movies. It was a picture of a corner of a country subjected to a natural calamity within an economic crisis. Holding on to my wallet instead of trusting the nerve endings of the skin on my butt to assure me of its presence every now and then, I entered the ever-reliable and jam-packed Mercury Drug. The “Closed” sign of the more expensive alternative MiniStop mocked its 24-hour bullshit.

With McDo and Jollibee closed, I moved to look for bread, my heart beating fast out of fear of going hungry. I found one last loaf on the shelf and in true cinematic fashion increased my walking pace towards it. My hand reached for the bread as another lady gestured to take the same. Working my charm, and seeing that she was already holding three loaves of bread anyway, I shrugged my shoulders and tried my very best to look hungry. It worked and I almost died trying to stifle my laughter.

Safe with food, I was hell-bent on and actually excited about walking my way into campus, confident in the Decolgen I bought despite the fever I felt was coming. Hence my disappointment in the relief of finding a Philcoa jeep ready to go when I tried the terminal again." (from here)

The horror was in Michel's face. after surviving a post-bone-tumor-removal operation a month ago, she faced another life-threatening situation upon crossing the shallow waters pilled with floating debris mixed with bacteria-infested canal waters. How could she do it? She looked at her companion , Josette, as she inhaled the humid air, for Josette was strong-willed and courageous, a capacity she needed in times like this. The sole of her shoe touched the brackish flood waters, the wind chilled her. Her blouse was drenched in rain for Josette was the only one carrying an umbrella for both of them.

She did what seemed appropriate at that moment. Slowly, she placed her shoes on the bottom pavement and waved her legs through the ravaging storm waters, and, grabbing Josette's left arm they walked on the drier pavement. They sauntered in disbelief of seeing hundreds of commuters walking towards the MRT station, by that time, the only available transportation to cross Manila.



A man riding motorcycle bypassed the immovable traffic.

Three o'clock in the afternoon, the sky was dark, and the humidity of the air had lessen. They arrived at the GMA-Kamuning station completely damped. They climbed inside the train and waited for a few minutes and finally, Josette arrived at the Taft Avenue station and Michel at the Araneta-Cubao station.

Michel would witness Araneta-Cubao in deep waters. Below is a picture of an Avenue beside the Araneta Colliseum completely immersed in waters.


Note that the water level reached the rooftop of the car.


Josette arrived at the MRT station at about 500PM. Taft Avenue was, for her, the most chaotic she had ever seen. Apart from the accumulating passengers, the flood levels at the base of the station was above chest levels. A group of brave citizens, hand-in-hand, swam across the EDSA Avenue when, suddenly, a big trucked sallied from Taft Avenue sent a wave of floodwater engulfing them whole. Josette, in her conscience, saw the force of nature out of control and the possibility of death. The brave citizens persisted as they gasped from the incoming wave. With arms clasped closer, they moved in a steady pace, summing up their courage, as they inhaled life.


A bus traversing on the flooded streets of Manila sent a wave
as it passes through the Avenue.

In Josette's mournful eyes, she had witnessed the most horrible. After a few minutes of non-stop arrival of passengers, the overpass connecting the MRT station and the low-lying streets of the Taft-EDSA intersection was filled with people. By a singular thrust from the northside, the people on top of the overpass oscilated to and fro, unstabling their positions sending a deadly stampede ten feet from the rising flood waters.

People from the station watched in horror.

The stampede grew at critical heights; and, one by one, people violently fell from the ten-foot overpass plunging into the floodwaters. A shrieking woman, outbalanced from the edge of the overpass, was thrown at backward position landing on the 6ft floodwater screaming for help.

Josette, unable to contain the scene, went back to the MRT Train and headed towards the Quezon Avenue Station. She walked from there towards Philcoa. It was almost dusk, 7PM, and Josette scurried for food at Philcoa. All establishments were closed except MEALS TO GO. They offered her enough food to regain her energy.

Her eyes were almost closed in exhaustion.

And she went by foot to her dormitory from Philcoa, where, upon entering the room, her roommates were there, and she cried peacefully in their arms.

-----------------

7PM, SEPTEMBER 26, 2009
PSO FINALS CLOSING, MALL OF ASIA

It was Josette's account of the flood that moved me into writing.

As the PSO closing program ended, the SM Management declared that all roads were impassable. I was clearly spaced out because of hunger and tiredness, and did not heard clearly the news about the flood and how chaotic Manila was. I was unaware of Josette's experience. I suddenly remembered feeling light and dreamy, but i managed to open a web-page FLV movie from ABS-CBN NEWS website explaining the odd phenomenon. I readjusted the video and plug it in the LCD monitor, volume-up the sounds to let the rest of the participants, coaches, parents, advisers, principals, the PSYSC team know the situation outside Mall of Asia.

The Management requested us to stay indoors. They opened the Food court and supplied us with watter and sandwich during the night. They also provided the Nido Fortified Discovery Center and the Planetarium as areas for accomodations.

We stayed there overnight. By 12 o'clock in the evening, the National President of SM went there to inspect us, she gave us Krispy Kreme doughnuts and additional water supplies. I cannot sleep that time trying to find a way to text my parents that I was okay, to send a message to a close friend that I wouldn't be there to bring him a dinner, to tell them that I was not alone but with fifty something people from PSYSC. I wanted to pray hard, the hardest, upon seeing the videos uploaded in youtube and the horror drawn in the faces of my colleagues.

How lucky I was to be there locked from rain and cold.

How very lucky we were!


SUNDAY, SEPTEMBER 27, 2009


Everything Calms down


And yet, for there was morning in all days, it simply began after another announcement from Mall of Asia that some roads were passable. I woke up in the middle of the room, napping on three chairs arranged together with my cellular phone ringing. I gathered myself and went to the bathroom.

I slapped my face and washed it in methodical phase, brushed my teeth and went out.

The signal from all networks were revitalized, I sent text messages to important people, and helped out in the cleaning of the venue. By 9AM we had breakfast at Jollibee near Mall of Asia. And from there, we journeyed back to where we came from.

As we passed through the streets and avenues of Manila, it seemed as if nothing happened. Dry pavement illuminated by the sun, a streak of clouds over the horizon. Manila was waking up, i thought. How calm it was! For there was Philcoa, waterless, and EDSA-Taft intersection busy as a bee, and all roads that led us to our destination, were calm, easy, and light.

A total opposite, a mere extension of an illusion that I created in my head.

I was never aware that Marikina City and Rizal were heavily hit, or that my friend, Paul Jordan, grieved for his flooded appartment, and in all this, I slept. I slept without knowing that some people could not sleep at all because of the fear that succumbed them, or the rain, and their cold bodies.

How the Lord must be merciful to all of us; I cried inside out while sleeping.

It happens.

****



Bande à part (1964)

...Godard foreva!...


Odile


I was slightly encouraged by this scene to pursue my T-shirt design for Godard.

Ciao!
***

Engkwentro, District 9, Bertolucci and One Year of Cinephilia

...going back to business...

[Engwentro googled image]
[bertolucci image]


Pepe Diokno and the light. (here)


That is, going back to what i love most, watching films on Tuesday nights and spending my careful research on 'some contemplative films' on Friday nights. I have heard recently that Engkwentro (2009) directed by Pepe Diokno won the Orrizonti prize under New Horizons category in the recently concluded 66th Venice Film Fest. Pepe Diokno is twenty one years old. As you might recall, last year's Orrizonti Award was given to our very respected and loved, Lav Diaz with his feature Melancholia (2008). Oggs presented a careful observation of Engkwentro's style. He wrote:
"Perhaps the most glaring difference is style. While Libiran sometimes indulges in long takes (there's a particularly lovely scene where Libiran's camera follows a utilities man who is mobbed by Tondo residents who are complaining about their electricity bills), Diokno attempts to tell his story in one long take. He failed at that attempt but achieves something close. Engkwentro is composed of a couple of takes, seemingly seamlessly edited together by Miko Araneta. Diokno's camera is constantly in motion: candidly shaking as it treads the labyrinthine passageways of his makeshift slums; following the characters as they hatch their plans, negotiate, orate and fight; and document the goings-on with the efficiency of an inconspicuous voyeur." (here)
Long takes, that is. It is not clear, however, if mise-en-scene staging (i.e. staging in deep space as in Welles' Citizen Kane (1941) or Tarkovsky's Andrei Rublev (1969)) was Oggs's point here. If the long take was made as a cinematographic effect, obviously, because Oggs later observe that the camera was moving, it might have a different function. Let us say, the use of Jean Renoir's long take, mobile camera on La Grande Illusion (1937) functions differently as long take, steady camera of Welles in Magnifecent Ambersons. In an interview with the Inquirer Pepe Diokno clarifies this aesthetic choice saying:
"...that the 61-minute film was done with one long take. “Actually, there were 51 cuts, but we had to digitally erase the cuts and make it look seamless. We wanted to make it appear continuous, as if it was one long tracking shot.”" (here)


I think this 'volatile' use of long take, handheld camerawork can be connected with the cinematography of Wong Kar-wai and obviously related to the style that proliferated in 1960s art film cinema, the cinéma vérité. I have made a careful observation after watching Alan Clarke's 1988 film, Elephant, that:
"The object of contemplation will be lost, however, if the directors will pursue this (handheld camera) cinematic style. It can be thought that hand-held cameras may depict the theme of violence... with much accuracy because it can deploy much of the needed hastiness and immediacy of the gunner shooting a victim. It can also add a lot of psychological positioning as post-compositional effects. This style is common in art house cinemas especially in the independent waves in the 80s. Kubrick did use a handheld camera when he filmed certain scenes in The Shinning (1980)."(here)
If cinéma vérité style is central to Engkwentro's camera, correct me if I am wrong, nothing is more 'cinéma vérité' than my Saturday night movie madness on Neill Blomkamp's District 9 (2009) which is still showing at SuperMart theaters this week.


District 9


from slashfilm.

District 9 is a mesh of documentary-style and special effects, and to see young audiences sitting next to me enjoying the terrifying treat amazes me. The film is a bit 'horrory' for an age of 14 or 15. I, myself, am shocked by the visuals of District 9. It has a highly developed aesthetics that deserve academic study, whatever the inconsistencies present in its form, for example, the surveillance footage style, if remember it completely, have some shot/reverse shots effects. Who could find a surveillance camera with such high cinematography???


Bertolucci and Celebrating One Year of Cinephilia


The Bertolucci position - Cinephilia has never been this good!

Finally, the highlight of my week, aside from Godard, is a string of films by Bernando Bertolucci which I have recently acquired namely his masterpiece, The Conformist (1970), his most controversial film that drived Pauline Kael crazy, Last Tango in Paris (1973), his Oscar winning The Last Emperor (which I purchased last month), and his recent feature The Dreamers (2003).

One can say that I am living in an auteur's world. A couple of days ago, my friend observes: "Oh! Wow! you have almost all Scorseses [he was refering to Scorsese's oeuvre which I have carefully been collecting.]." I replied: "Believe me, I don't have. You are talking of 21 features, 8 documentaries, 7 shorts. And they are not all in DVD, not that i can recall. And I don't have enough money."

This issue of collecting oeuvre of filmmakers, as in my attempt to collect all Kurosawas, Brillante Mendozas, Lav Diaz-es, Godards, Hitchcocks, Murnaus, Almodovars and Renoirs, is highly frustrating. You can't collect them all in DVDs, particullarly on a high-definition, notable, unstrangled DVD copies. I have this recent urge to unmasked all of history of film (at least the most notable) and to lay it on my table and select my top 20 best films of all time. To date, my cinephiliac wanderings have been continuing for about a year now. It started way, way back when i posted my article: "A Consuming Film Research: First Steps." published in this blog last September 10, 2008. A year and six days passed and over two hundred films and more than fifty film books, I can say that I have been successful in my undertaking to transforming myself into a film blogger, and the best thing, a film cinephile.

Do you remember this picture from my September 10, 2008 post?


from here

These are my first film books that I have read in my whole life. Before I cut this post, I have long admired this quotation from Godard:
"I need a day to tell the history of a second, a year to tell the history of a minute, a lifetime to tell the history of a day."
- Godard from Moments Choisis des Histoire(s) du Cinéma
Ciao and welcome to another year of cinephilia with Adrian.



Histoire(s) du Cinema (1998, Jean-luc Godard)
****



Gymnopedie No. 1 and David Bordwell at 16:9

...melancholic reading...



and

Bordwellians, anyone?

Good Morning film world! I think I am back again to my research on a couple of contemplative films in preparation for my ________. I have to reread the interview from 16:9, a Danish film journal. I just want to share my notes, mostly taken from the third instalment of the interview of David Bordwell, the famous film scholar of UW, with Jakob Isak Nielsen, entitled: Part III: Writing on Film Style.

All were quoted from the interview:

"We still lack a comprehensive account of color in film, we lack a comprehensive account of camera movement, we lack a comprehensive account of many, many aspects if sound."

"We don't even have a study of the history of lighting, something so essential to all films --- or even a portion of that history, say, lighting in the classical Hollywood cinema or the 30s even."

"It would be wonderful if they [studies on lighting] could be comparative in terms of periods."

"I think there are different ways to go on this but I do think that poetics in general --- and stylistics in particular --- tend to be very comparative."

"One of the reasons that I think fewer [film] scholars pick up the poetics perspectives and try to develop it is because it seems focused on minutia or triviality. It inquires into highly esoteric issues and I have to say it parallels the standing of stylistics and poetics in literary studies."

"Whereas the kind of stylistics that I'm proposing by concentrating on denotation and then secondarily on expression and decoration says 'actually referential meaning matters a lot.'"


From Part I- Hitchcock, Hartley and the Poetics of Cinema:

On Hitchcock:
"He seemed to be just a master --- a virtuoso of the film medium --- and he was almost our film school. Hitchcock --- more than any other filmmakers, even European filmmakers --- was the director people felt they could learn most about cinema from."
"I prefer how to work on directors who are underappreciated; on directors about which I feel I have something original to say."


Jakob asks a question:
"To ask about the poetics governing any filmmaking tradition is to pose at least four broad questions”:

1. Overarching form: by what principles are the films created as distinctive narrative wholes or “other” wholes?
2. Stylistics: how is the film medium deployed in a film or body of films?
3. Spectatorial uptake: how do form and style shape the uptake of films?
4. Historical poetics: how do form and style exhibit patterns of continuity and change over time and how might we best explain these patterns?"
"I was only concerned with the denotative function of style. Again it is a matter of seeing how much I can squeeze out of a single concept. I'm interested in the expressive functions, I'm interested in the decorative functions."
Ciao!

[Internet here sucks as usual.]

***

R. L. Stine Craze

...when I was a kid...



I love R.L. Stine! When I was a kid i used to collect all of them, and when I went to high school I sold all of them because i felt that i have grown. Yes, I said to my friends: "I think i'm too old for that." Eight years later, I regretted everything.

My first ever book adventure before Nancy Drew, Hardy Boys, Harry Potter, Tolstoy, Woolf, and Dostoevsky was, of course, Night of the Living Dummy, the seventh installation of R.L. Stine's Goosebump series. Though I never really understood it, not that I remember it completely, I came to an understanding that books can take you anywhere and all the cliche of it.

Books should be central to one's childhood.


Ciao!
***

Torquay, Devon (1924)

...is something else...




Hallo! I got this from BFI (British Film Institute) youtube Channel and I was so amazed by the quality of this 1924 extract. From the BFI's description: "This extract comes from Claude Friese-Greene's 'The Open Road' - originally filmed in 1925/6 and now re-edited and digitally restored by the BFI National Archive."

Look, we don't have technicolor back in the 1920s. The camera back then was so medieval, yet, as one film theorist would argue, the camera used back then is one of the best of its kind. BFI have made big contribution by adding color to this 1920 clips using advance technology, maybe on coloration techniques [a bit of physics, i guess], so that we can enjoy this age old clips.

Kudos to BFI!

Ciao!
***

Alexis Tioseco (1981 - 2009)

this is for Alex...

The Letter I Would Love To Read To You In Person
is a writing that one has to read and never forget.



When I sense a great passage of time, there is this feeling disintegration and fear that I have made such a waste of time, but one must live on, through that crack and tear that we pass everyday. The sudden passage of Alexis Tioseco have left a great impression on me. I am not related to Alexis personally but I feel a cosmic feeling of thirst for his connection. August 30, 2009, two days before the tragedy, I left a comment on his latest blog post, i said:
"Gosh! Alex, i totally agree with everything here. What is Philippine Film History, its essence and legacy, without an archive. The restoration of the films from the silent era of our old local cinema should be highly prioritize. If we cannot afford ‘LOCAL CRITERION COLLECTION’, it is best to keep everything free from the inevitable damages like dust, suspended particulates, high temperature effects of summer, or moisture accumulation during rainy days etc. I could cry now really. As we all know, all things decay with time, and there is not enough left. What in the heavens are they waiting for! What!"
It reverberated in my head, the whole time i recalled reading Oggs's September 2 post in the middle of everything. September 1 was part of the week that I can consider as my busiest week of all time. I had no sleep for three days preparing my part for the National Science Club Month. I had a little time for internet when, at last, one fine Wednesday night in the middle sorting papers and video editing i opened my BLOGGER dashboard and the name 'Alexis Tioseco' caught my eye and it was from Oggs. I exclaimed: "Oh my! Alexis!" I was shunned in disbelief, and right then and there my last words from my comment echoed like fire: "as we all know, all things decay with time, and there is not enough left."

Not enough left Alex, not enough left. I am hoping for an answer from him. But fate have silence my call forever.

"It is important for people to write about their own cinemas and not let it be left to those outside to dictate what matters."
--- Alexis Tioseco [from here]
Ciao Alex!
****



PSYSC SEND - OFF...

...and everything goes with it.



PSYSC --- one way of looking at it.

Everybody needs everybody especially in PSYSC where science clubbing, central to anything else, comes first before the cough, headaches and sleepless nights of conscious self-torture. If there is one thing about cramming that I hate, it is the 'aftertaste'. However, when one crams for the Filipino Youth in general, even when the weight gets heavier and heavier, one gets a euphoric feeling, a vision, and it sets one above the rest, above the ordinariness of youth. You become, as a science clubber, a vehicle for change.

This coming September 5, 2009, PSYSC will be organizing the Science Olympiad and Summit on 10 different sites around the Philippines. I will be organizing the one in Legaspi City, so I will be staying there for three days to prepare everything. The complete list of sites is shown below:

PSYSC Science Olympiad (PSO) Sites:

* BHC Educational Institution, City of San Fernando, La Union (R I)
* Olongapo NHS, Olongapo City (R III)
* Elyon Academy, Nagcarlan, Laguna (R IV)
* Aquinas University, Legaspi City, Albay (R V)
* Capiz National High School, Roxas City, Capiz (R VI)
* Zamboanga del Sur National High School, Pagadian City, Zamboanga del Sur (R IX)
* Corpus Cristi School, Macasandig, Cagayan De Oro City (R X)
* Davao City National High School, Davao City (R XI)
* Agusan National High School, Butuan City, Agusan del Norte (CARAGA)
* Angelicum College, Quezon City (NCR)

National Science Clubs Summit Sites:

* Capiz National High School, Roxas City, Capiz (R VI)
* Zamboanga del Sur National High School, Pagadian City (R IX)
* Davao City National High School, Davao City (R XI)
* Agusan National High School, Butuan City, Agusan del Norte (CARAGA)
For more information about SUMMIT and PSYSC SCIENCE OLYMPIAD please visit our website: http://psysc.org.

ON-THE-SPOT POSTER MAKING CONTEST

Quoting from our site:

"In support to the Asia Pacific Regional Space Agency Forum (APRSAF) space education and awareness program, the DOST Science Education Institute (SEI) in cooperation with the Department of Education and the Philippine Society of Youth Science Clubs (PSYSC) will conduct an On-the-Spot Poster Making COntest during the Regional Level of the PSYSC Science Olympiad (PSO) on September 5, 2009.

Theme: OUR UNIVERSE - GREAT DISCOVERIES

The poster making contest encourages the children to expand their imagination and express what they may find in the universe. It also contributes to the celebration of the International Year of Astronomy (IYA) in 2009 under the theme: “The Universe-Yours to Discover”".

See you there!

Once a PSYSC, a PSYSC forever.

***