The document provides a study schedule for a course on 21st Century Literature from the Philippines and the World. It outlines four lessons to be covered over 4 weeks in February and March, including topics, learning outcomes, and assigned learning activities for each lesson. Lesson 1 focuses on the graphic, linguistic, and ethnic dimensions of Philippine literary history. Lesson 2 covers texts and authors from each Philippine region. Lesson 3 defines literary genres and compares 21st century and earlier genres. Lesson 4 analyzes literary works in their biographical, linguistic, and sociocultural contexts. The schedule provides deadlines to submit Lessons 1-2 and Lessons 3-4.
The document provides a study schedule for a course on 21st Century Literature from the Philippines and the World. It outlines four lessons to be covered over 4 weeks in February and March, including topics, learning outcomes, and assigned learning activities for each lesson. Lesson 1 focuses on the graphic, linguistic, and ethnic dimensions of Philippine literary history. Lesson 2 covers texts and authors from each Philippine region. Lesson 3 defines literary genres and compares 21st century and earlier genres. Lesson 4 analyzes literary works in their biographical, linguistic, and sociocultural contexts. The schedule provides deadlines to submit Lessons 1-2 and Lessons 3-4.
The document provides a study schedule for a course on 21st Century Literature from the Philippines and the World. It outlines four lessons to be covered over 4 weeks in February and March, including topics, learning outcomes, and assigned learning activities for each lesson. Lesson 1 focuses on the graphic, linguistic, and ethnic dimensions of Philippine literary history. Lesson 2 covers texts and authors from each Philippine region. Lesson 3 defines literary genres and compares 21st century and earlier genres. Lesson 4 analyzes literary works in their biographical, linguistic, and sociocultural contexts. The schedule provides deadlines to submit Lessons 1-2 and Lessons 3-4.
WEEK AND TOPIC LEARNING OUTCOMES LEARNING ACTIVITIES
DAY Lesson 1: GRAPHIC, LINGUISTIC, AND ETHNIC DIMENSIONS OF - Perform YOUR INITIAL PHILIPPINE LITERARY HISTORY TASK 1. Define literature from various writers; and - Perform YOUR 2. Understand literature from pre-colonial to contemporary DISCOVERY TASKS A and B periods. - Perform YOUR FINAL 3. Make a graphical timeline focusing on how the literatures for TASK each literary period proliferated.
February 8-12 Lesson 2: TEXTS AND AUTHORS FROM EACH REGION - Perform YOUR INITIAL 1. Enumerate Filipino authors across the regions; and TASK 2. Appreciate their contributions on the development of - Perform YOUR Philippine literature. DISCOVERY TASKS A, B, and C - Perform YOUR FINAL TASK Lesson 3: 21ST CENTURY LITERARY GENRES ELEMENTS, - Perform YOUR INITIAL STRUCTURES AND TRADITIONS TASK 1.0 1. Define what literary genre is; - YOUR DISCOVERY TASK 1 2. Identify the different literary genres of the 21st century and and 2 the earlier periods in Philippine history; and - Perform YOUR FINAL 3. Use a Venn diagram in comparing and contrasting the 21st TASK century Philippine literary genres and those in the earlier time. March 8-12 Lesson 4: LITERARY, BIOGRAPHICAL, LINGUISTIC, AND - Perform YOUR SOCIOCULTURAL CONTEXTS DISCOVERY TASKS A, and 1. Analyze select literary works by writers from Visayas and B Mindanao; - Perform YOUR FINAL 2. Identify the context of a given literary text; TASK 3. Relate the context of a literary text to its meaning; and 4. Situate or place the literary text in the context of the region where the writer is from and of the nation.
February 19, Round 1: SUBMISSION OF LESSONS 1 and 2
2021 March 19, Round 2: SUBMISSION OF LESSONS 3 and 4 2021
2 COURSE OVERVIEW Some contents and parts of this module are adapted from the course module of DepEd Region X. This is a result of different readings and researches. This first learning module contains 21st Century Literature from the regions in various genres and forms in consideration of the various dimensions of Philippine literary history from pre-colonial to contemporary; canonical authors and works of Philippine National Artists in Literature; names of authors and their works, and the backgrounds of the literature from the region where the high school is located. In this module, the students understand and appreciate the elements and contexts of 21st century Philippine literature from the regions through: a written close analysis and critical interpretation of a literary text in terms of form and theme, with a description of its context derived from research; and an adaptation of a text into other creative forms using multimedia. COURSE GUIDE
COURSE DETAILS Subject: CS-Hums 01 Descriptive Title: 21st Century Literature from the Philippines and the World Credit:
COURSE OUTCOMES At the end of this course, you will be able to; 1. Define literature from various writers; 2. Identify the geographic, linguistic, and ethnic dimensions of Philippine literary history from pre-colonial to the contemporary; 3. Make graphical timeline on how literatures of literary periods proliferated; 4. Identify representative texts and authors from each region (e.g. engage in oral history research with focus on key personalities from the students’ region, province, town; 5. Appreciate and internalize the meaning of the texts; 6. Value the contributions of local writers to the development of regional literary traditions; 7. Compare and contrast the various 21st century literary genres and the ones from the earlier genres/periods citing their elements, structures and traditions; and
COURSE Content
Unit 1: Understanding the Literary History and Appreciating the
21st Century Literature of the Philippines
Lesson 1: GRAPHIC, LINGUISTIC, AND ETHNIC DIMENSIONS OF PHILIPPINE LITERARY HISTORY
Lesson 2: TEXTS AND AUTHORS FROM EACH REGION Lesson 3: 21ST CENTURY LITERARY GENRES ELEMENTS, STRUCTURES AND TRADITIONS Lesson 4: LITERARY, BIOGRAPHICAL, LINGUISTIC, AND SOCIOCULTURAL CONTEXTS
LEARNER’S GUIDE This learning module is envisioned to provide you with opportunities to proceed with your studies despite the pandemic the country is facing. Your proactive and dedicated response, diligent approach, honest and independent compliance to what this module requires will lead to the achievement of this module’s purpose. That is, to acquaint you with the different knowledge on the different kind of literature in the Philippines and the world. This will also allow you to analyze and reflect on the different activities that you are going to answer. This module has been integrated with various activities, not only to give you a grasp of the content but to inculcate values in you. Remember to do your part in achieving this goal. To achieve this purpose, you are advised to do the following: 1. Allot a specific time to read and understand every part of the module with no discrimination to your other subjects. 2. Plan and execute the productive way to do the activities of this module. 3. Be disciplined and conscientious in managing your time with fair considerations to all your subjects.
3 4. Be open-minded to all your difficulties and engage all possible resources to have a better understanding of the tasks you are to perform. 5. Ask relevant questions and avoid repetitive inquiries. Questions will be entertained through e-email only. Guidelines on how to answer this module: 1. Refer first to the “Study Schedule” before you start answering to be guided of the activities that are to be submitted in a particular week. 2. Tasks or activities should be accomplished within the date indicated in the study schedule. 3. Carefully read the tasks and activities. Follow instructions. 4. Use the answer sheet provided for your answers. 5. Do not skip tasks or activities. 6. If you have some clarification and questions, you may contact me through the following means. MESSENGER: CHAWEE ALTAMIA Personal E-MAIL: [email protected] Contact Number: 09263025158 8. Finally, prepare and gather all your outputs and submit them to your teacher. NOTE: Upon submitting, please do not forget to indicate your NAME, SECTION, SUBJECT, and TASKS NUMBERS.
A. For the submission of the hard copy output, hand it personally to me for recording. B. For online submission, please send your output to your respective class e-mail.
4 Quarter 1 – Module 1 Understanding the Literary History and Appreciating the 21st Century Literature of the Philippines
GRAPHIC, LINGUISTIC, AND
LESSON ETHNIC DIMENSIONS OF 1 PHILIPPINE LITERARY HISTORY
YOUR GOALS
At the end of this lesson, the learners are expected to:
1. Define literature from various writers; and
2. Understand literature from pre-colonial to contemporary periods. 3. Make a graphical timeline focusing on how the literatures for each literary period proliferated.
YOUR INITIAL TASK
Instructions: Recall what you learned about the literature of the past. Read and answer the following statements. Write the letter of your answer on your answer sheet.
1. The “putong” is a pre -colonial ornament which may signify that the wearer has killed someone. a. True b. False 2. The early Filipinos live in scattered barangay governed by a chieftain which they call rajah or datu a. True b b. False 3. It is a body of work, either written, oral, or visual, containing imaginative language that realistically portrays thought, emotions, and experiences of the human condition. a. Pre-colonial Literature b. Philippine Literature c. Literature d. World Literature 4. The period of time before colonization of a region or territory. a. Colonial b. Pre-Colonial c. Pre-history d. Post-Colonial 5. Identify the two classifications of folk literature: a. Local and Global b. Dynamic and Static c. Flat and Round d. Floating and Oral 6. Literatures during pre-colonial period were handed down to us through a. word of mouth b. paper and pen c. multimedia 7. Which of the following is true about Philippine pre-colonial texts? a. Most of the pre-colonial dramas were held in the sambahan or places of worship. b. They revolve around the illiteracy of early Filipinos. c. Only the concept of death is used as a subject for narratives. d. All of the above 8. It is a rhythmical type of literary composition that usually serves to excite the readers. a. Poetry b. Prose 9. Which of the following is a theme of pre-colonial texts? a. Karma b. Reincarnation c. Ideals d. War 10. It is the ordinary form of spoken or written language, without metrical structure a. Poetry b. Prose 11. It is a war song which evolved into a love song. a. Uyayi b. Talindaw c. Hele d. Kumintang 12. It is a song of revelry a. Epiko b. Uyayi c. Diyuna d. Sabi
5 13. These are sacred narrative explaining how the world and man came to be in their present form. a. Legends b. Myths c. Epics . Fables 14. Philippine myths show that ancient Filipinos believed in one supreme god and in a number of lesser gods and goddesses a. True b. False 15. These are myths that seek to explain natural phenomenon like rainbows, thunder and lightning. a. Early concept of the universe b. The Sun, Moon and Stars c. Establishment of Natural Order
YOUR DISCOVERY 1.0
What is literature?
The word literature is derived from the Latin term litera which means letter. It has been defined differently by various writers. These are the following:
1. Literature expresses the feelings of people to society, to the government, to his surroundings, to his fellowmen, and to his Divine Creator. (Brother Azurin)
2. Literature is anything that is printed as long as it is related to the ideas and feelings of the people, whether it is true, or just a product of one’s imagination. (Webster)
3. “True literature is a piece of written work which is undying. It expresses the feelings and emotions of people in response to his everyday efforts to live, to be happy in his environment and, after struggles, to reach his Creator” (PANITIKANG FILIPINO)
Some loosely interpret literature as any printed matter written within a book, a magazine or a pamphlet. Others define literature as a faithful reproduction of man’s manifold experiences blended into one harmonious expression. Because literature deals with ideas, thoughts and emotions of man, literature can be said to be the story of man. Man’s loves, griefs, thoughts, dreams and aspirations coached in beautiful language is literature.
In Panitikang Pilipino written by Atienza, Ramos, Salazar and Nazal, it says that “true literature is a piece of written work which is undying. It expresses the feelings and emotions of people in response to his everyday efforts to live, to be happy in his environment and, after struggles, to reach his Creator.”
Philippine Literature is a diverse and rich group of works that has evolved sideby-side with the country’s history. Literature had started with fables and legends made by the ancient Filipinos long before the arrival of Spanish influence. The main themes of Philippine literature focus on the country’s pre-colonial cultural traditions and the socio-political histories of its colonial and contemporary traditions.
Literary History/Evolution of the Philippines
1. Pre-Colonial Period The evolution of Philippine literature depended on the influences of colonization and the spirit of the age. The first Filipino alphabet called ALIBATA was replaced by the Roman alphabet. Indigenous Philippine literature was based on traditions and customs of a particular area of the country. Philippines is an archipelago country, consisting several islands, (7,107 islands to be exact), and each of those islands has its specifications of cultures and traditions, bearing different set of native literature. Ancient literatures were written on the perishable materials like dried leaves, bamboo cylinder, and bark of the trees. Literatures were handed down to us through the word of mouth.
There were two literary forms during the pre-colonial period:
A. Written literatures Examples: a. Riddles or bugtong. These are effective ways to inculcate the ability of logical thinking of a child. b. Epigrams or salawikain. It reflects the hidden meaning through the good lines. It provides good values.
6 c. Poems or tanaga – These are common forms of poetry which has a quatrain with 7 syllables each with the same rhyme at the end of each line. It also expresses insights and lessons in life.
B. Oral literatures Examples: a. Chant. It is used in witchcraft and enchantment. While, ambahan is a traditional poetry of Hanunoo Mangyans of Oriental Mindoro which teaches lesson about life. It is recited by parents to educate their children by the youth expressing their love, by the old to impart experiences, or by the community in tribal ceremony. (slideshare.net/mobile/jessacerbito…)
b. Balagtasan .This is a Filipino form of debate done in verse. The term is derived from the surname of Francisco Balagtas the author of Filipino epic Florante at Laura.
2. The Spanish Colonial Period (1565-1897)
Sixteenth Century was the start of the deprivation of the indigenous Philippine literature. Spanish colonial government finally got in the scene. They were able to manipulate literature by monopolizing it under the religious orders. Literature evolves mainly on the themes of Spanish/ European culture and of course, the Roman Catholic religion.
Literary Influences during Spanish colonization
a. Christian Doctrine or Doctrina Christiana was the first book ever printed in the Philippines in 1593 by the Dominican press.
b. Libro de la Lengua Tagala by Fernando Bagongbanta .Tagalog translations to the Spanish lines, still the superiority of the Spanish language.
c. Pasyon influenced by the Spanish contexts of Christianity, at least they embodied several Filipino sentiments and values (the feeling of Filipino mother towards a suffering son).
Filipino writers in Spanish became conscious for the search for freedom
a. Pasyon Dapat Ipag-alab ng Puso by Marcelo H. del Pilar expressed his rebellious writing style was identified.
b. Pascual Poblete’s Patnubay sa Binyagan associated Filipinos’ struggle for independence with Jesus’ life.
c. Jose Rizal’s Noli Me Tangere and El Filibusterismo made very powerful contributions among the Filipinos the introduction of rejecting Spanish rule. He also influenced the succeeding writers.
d. The narrative poems Awit and Corrido talked about world of royals, warriors and lovers (the basic concept in Florante at Laura).
e. Komedya. Francisco Baltazar’s Florante at Laura embodied the concept of colonization and oppression which gave voice to their revolutionary action towards freedom.
3. The American Colonial Period (1898-1945)
Philippine literature in Spanish was starting to lose its track on the first decade. The poems of Fernando Ma. Guerrero (Crisalidas), Balmori’s Se deshojo la Flor novel, and many others discussed revolution and sentiments for patriotism and reform proved that Philippine literature was used to claim freedom from the colonizers. Even if Philippine literature was in English, the preservation of the content for Filipino experiences was achieved. Short story writers in English like Manuel Arguilla in his “A Son is Born,” was one of the foundations of the Philippine literature, not in Tagalog or in Spanish, but during this time, in English. Poetry in English was also founded. Sarzuela was overpowered by English drama.
4. The Contemporary Period (1946 to present)
This period started during the rebirth of freedom in (1946-to present). The Americans returned in 1945. Filipinos rejoiced and guerrillas that fled to the mountain joined the liberating American Army. On July 4, 1946, the Philippines regained its freedom and the Filipino flag waved joyously alone. The chains were broken.
7 The State of Literature during this Period
The early post-liberation period was marked by a kind of “struggle of mind and spirit” posed by the sudden emancipation from the enemy, and the wild desire to see print.
a. Heart of The Islands (1947) – a collection of poems by Manuel Viray
b. Philippines Cross Section (1950) – a collection of prose and poetry by Maximo Ramos and Florentino Valeros c. Prose and Poems (1952) – by Nick Joaquin d. Philippine Writing (1953) – by T.D. Agcaoili e. Philippine Havest – by Amador Daguio f. Horizons Least (1967) – a collection of works by the professors of UE, mostly in English (short stories, essays, research papers, poem and drama) by Artemio Patacsil and Silverio Baltazar. The themes of most poems dealt with the usual love of nature, and of social and political problems. Toribia Maño’s poems showed deep emotional intensity. g. Who Spoke of Courage in His Sleep – by NVM Gonzales h. Speak Not, Speak Also – by Conrado V. Pedroche i. Other poets were Toribia Maño and Edith L. Tiempo, Jose Garcia Villa’s Have Come, Am Here has won acclaim both here and abroad
The New Filipino Literature during this Period
Philippine literature in Tagalog was revived during this period. Most themes in the writings dealt with Japanese brutalities, of the poverty of life under the Japanese government and the brave guerilla exploits.
a. Period of Activism (1970-1972)
Many young people became activists to ask for changes in the government. In the expression of this desire for change, keen were the writings of some youth who were fired with nationalism in order to emphasize the importance of their petitions.
The Literary Revolution
The youth became completely rebellious during this period. This was proven not only in the bloody demonstrations and in the sidewalk expressions but also in literature. Campus newspapers showed rebellious emotions. The once aristocratic writers developed awareness for society. They held pens and wrote on placards in red paint the equivalent of the word MAKIBAKA (To dare!).
Writing During the Period of Activism
The irreverence for the poor reached its peak during this period of the mass revolution. It was also during this period that Bomba films that discredit our ways as Filipinos started to come out.
b. Period of the New Society (1972-1980)
The period of the New Society started on September 21, 1972. The Carlos Palanca Awards continued to give annual awards. Almost all themes in most writings dealt with the development or progress of the country –like the Green Revolution, family planning, proper nutrition, environment, drug addiction and pollution. The New Society tried to stop pornography or those writings giving bad influences on the morals of the people. All school newspapers were temporarily stopped and so with school organizations.
Filipino Poetry during the Period of the New Society
Themes of most poems dealt with patience, regard for native culture, customs and the beauties of nature and surroundings.
The Play under the New Society
The government led in reviving old plays and dramas, like the Tagalog Zarzuela, Cenaculo and the Embayoka of the Muslims which were presented in the rebuilt Metropolitan Theater, the Folk Arts Theater and the Cultural Center of the Philippines.
Radio and Television
Radio continued to be patronized during this period. The play series like Si Matar, Dahlia, Ito Ang Palad Ko, and Mr. Lonely were the forms of recreation of those without television.
Filipino Films A yearly Pista ng mga Pelikulang Pilipino (Yearly Filipino Film Festival) was held during this time. During the festival which lasted usually for a month, only Filipino films were shown in all theaters in Metro Manila.
8 1. Maynila…Sa Mga Kuko Ng Liwanag written by Edgardo Reyes and filmed under the direction of Lino Brocka. Bembol Roco was the lead role.
2. Minsa’y Isang Gamu-Gamo, Nora Aunor was the principal performer here.
3. Ganito Kami Noon…Paano Kayo Ngayon led by Christopher de Leon and Gloria Diaz.
4. Insiang: by Hilda Koronel
5. Aguila: led by Fernando Poe Jr., Jay Ilagan and Christopher de Leon
Comics, Magazines and other Publications
In this period of the New Society, newspapers donned new forms. News on economic progress, discipline, culture, tourism and the like were favored more than the sensationalized reporting of killings, rape and robberies.
c. Period of the Third Republic (1981-1985)
After ten years of military rule and some changes in the life of the Filipino which started under the New Society, Martial Rule was at last lifted on January 2, 1981.
1. Filipino Poetry • Poems during this period of the Third Republic were romantic and revolutionary. Writers wrote openly of their criticism against the government. The supplications of the people were coached in fiery, colorful, violent, profane and insulting language.
2. Filipino Songs • Many Filipino songs dealt with themes that were really true-to-life like those of grief, poverty, aspirations for freedom, love of God, of country and of fellowmen.
Philippine Films during the Period
The yearly Festival of Filipino Films continued to be held during this period. Below is the table of the list of Philippine Films during the Third Republic. Film Director Cast Genre Kontrobersyal Lino Brocka Philip Salvador, Gina Alajar, Drama (1981) Charo Santos Relasyon Ishamael Bernal Vilma Santos, Christopher Drama (1982) de Leon Dugong Buhay Carlo J. Caparas Ramon Revilla, Bong Action (1983) Revilla, Imelda Ilanan Ang Panday Ronwaldo Reyes Fernando Poe, Jr, Marianne Action/Fantasy (1984) dela Riva, Max Alvarado Tinik sa Dibdib Leroy Salvador Nora Aunor, Dina Drama (1985) Bonnevie, Phillip Salvador
d. Rebirth of Freedom (1986-present)
History took another twist. Once more, the Filipino people regained their independence which they lost twenty years ago. In the span of four days from February 21-25, 1986, the so-called People Power (Lakas ng Bayan) prevailed. Together, the people barricaded the streets petitioning the government for changes and reforms.
Newspapers and other Publications
Newspapers which were once branded crony newspapers became instant opposition papers overnight. This was true of BULLETIN TODAY which became the opposition paper.
Books The Philippine revolution of 1986 and the fire of its spirit that will carry the Filipinos through another epoch in Philippine history is still being documented just as they have been in the countless millions who participated in body and spirit in its realization.
9 YOUR DISCOVERY TASKS
A. On your answer sheet, answer the following questions. (10 points)
1.) Explain in three (3) sentences why literature is considered as the story of a man? 2.) How did Philippine Literature develop from ancient time to present?
B. Instructions: Match each statement in Column A with what it describes in Column B. Write the letter of the answer on your answer sheet.
Column A Column B 1. It is the first alphabet which was replaced by Roman Alphabet. a. Letter 2. It defines as anything that is printed as long related to ideas etc. b. Alibata 3. It is the first book written by Fr. Juan de Placencia. c. Doctrina Christiana 4. A Filipino form of debate done in verse. d. Webster 5. It is a word derived from a Latin term litera e. Balagtasan 6. Tagalog Zarzuela, Cenaculo and the Embayoka of the Muslims were presented f. Riddles in what period? g. New Society 7. Narrative poems talked about world of royals,warriors and lovers. h. word of mouth 8. A literature influenced by the Spanish contexts of Christianity, at least they i. Awit and Corrido embodied several Filipino sentiments and values. j. Palanca Memorial Award 9. Literatures were handed down to us through the ---. k. Pasyon 10. An awarding organization continued to recognize the efforts of the Filipino l. Spanish Colonial Period writers. m. Literature
YOUR FINAL TASK
Complete the graphical timeline on your answer sheet focusing on how the literature for each literary period (from Pre-colonial to Contemporary) proliferated.
LESSON TEXTS AND AUTHORS FROM
EACH REGION 2
YOUR GOALS
At the end of this lesson, you will be able to:
1. Enumerate Filipino authors across the regions; and 2. Appreciate their contributions on the development of Philippine literature.
YOUR INITIAL TASKS
Instruction: Write T if the statement is true and F if it is false. Write your answer on the answer sheet.
1. Due to diverse environment, our ancestors developed separate cultures and beliefs. 2. Good number of performances can be found in video-sharing site like YouTube. 3. Rich biodiversity of the Philippines has made through archipelagic nature. 4. Our study of literature can help us understanding different cultures across the country. 5. Ilocos Region belongs to Region 2. 6. CAR Region stands for Cordillera Administrative Region. 7. Jose Ayala is a writer who comes from Region 10. 8. CARAGA Region is the same as CAR Region. 9. Our topography allows us to enjoy endemic flora and fauna. 10. Western Visayas region is part of NCR region.
10 YOUR DISCOVERY 2.0 In the previous lesson, you have already identified the geographic, linguistic, and ethnic dimensions of Philippine literary history from pre-colonial to the contemporary. Now, you are ready to move forward and learn more.
During a 2014 conference in Cebu City, Senator Alan Peter Cayetano remarked that the national government should stop giving the bulk of its national budget to Metro Manila alone. He said “Let us remember that Metro Manila is not the Philippines, and the Philippines is not Metro Manila. We should not always build in Manila. Other provinces and regions should share in the resources such as Clark, Zamboanga, Peninsula, Caraga and etc.” Providing equal resources to all regions of the country has been a continuous problem in more than a century of our independence as nation. The archipelagic nature of the Republic of the Philippines has made the country enjoy a rich biodiversity. Our topography, which consists of mountainous terrains, dense forests, plains, and coastal areas, allow us to enjoy endemic flora and fauna. As a result of this diverse environment, our ancestors developed separate cultures and languages.
Our country has a total of 182 living languages. With these languages our ancestors communicated, built their communities, and created unique cultural products. Separated by seas, cultures, and languages, the Filipinos of today must consciously choose to maintain a united front in order for all of us to be truly equal and free as a people in one nation. How can we do this? Perhaps our study of literature can help point us toward the direction of understanding different cultures across the country, and hopefully this would provide the opportunity for a true sense of pride to grow within us for being part of this nation. 21st century technology can help propel this goal into something obtainable. With the help of the Internet, many contemporary authors from the regions are publishing their work online. Whether they are using their regional language, Filipino, or English, these young authors are beginning to speak a national audience about their reality. Some 21st century literature of the Philippines can be found in blogs, online newspapers, online magazines, online journals, etc. Also, a good number of performances of songs, skits, and amateur films showcasing regional works can be found in video-sharing sites like YouTube.
Texts and Authors from each Region
This part shows you the various texts and authors from different regions in the country.
11 The table below presents the current regional division of the Philippines. Samples of 21st century Filipino authors associated with each region are listed. The writer’s association with that region is established in two ways: it is the writer’s birthplace or the writer settled in that region. Be reminded that the names of writers here are merely a fraction of 21st century Filipino writers. Many of our new writers are still waiting to have their works published.
NCR-National Capital Region-Metro Manila is made up of the following cities: Manila, Caloocan, Las Pinas, Makati, Malabon, Mandaluyong, Marikina, Muntinlupa, Navotas, Quezon City, Pasay, Pasig, Paranaque, San Juan, Taguig, Valenzuela, and Pateros Writers associated with this region: Michael M. Coroza, Jessica Zafra, Charlson Ong, Norman Wilwayco, Ana Maria Villanueva-Lykes, Janet B.Villa, Naya Valdellon, Rosmon Tuazon, Lourd de Veyra
Region 1- Ilocos Region-Ilocos Norte, Ilocos Sur, La Union, Pangasinan and Dagupan City Writers associated with this region: Paul B. Zafaralla, Santiago B. Villafania, Cles B. Rambaud, Jan Marc Austria, Ariel S. Tabag, Manuel Arguilla
Region 2-Cagayan Valley Region - Batanes, Cagayan, Isabela, Nueva Viscaya,
and Quirino Writers associated with this region: Jun Lisondra, Lovella G. Velasco
CAR (Cordillera Administrative Region) - Abra, Apayao, Benguet, Ifugao, KalingaApayao, and Mountain Province Writers associated with this region: Ma. Luisa Aguillar-Carino, Dion Michael Fernandez, Rachel Pitlogay, Chinee Sanchez Palatino, Charisse Acquisio
Region 3 - Central Luzon Region Aurora, Bataan, Bulacan, Nueva Ecija, Pampanga, Tarlac, and Zambales Writers associated with this region; Virgilio Almario, Rolando F. Santos, D.M. Reyes, Danton Remote, Marl Anthony Cayanan
Region 4-A-CALABARZON - Cavite, Laguna, Batangas, Rizal, and Quezon
Writers associated with this region: Joel M. Toledo, Frank G. Rivera, Jimmuel C. Naval
Region 4-B - MIMAROPA (Occidental Mindoro and Oriental Mindoro), Marinduque, Romblon, and Palawan Writer associated with this region: Jose Dalisay Jr.
Region 5-Bicol Region - Camarines Norte, Camarines Sur, Albay, Catanduanes, Masbate, and Sorsogon Writers associated with this region: Merlinda Bobis, Ricardo Lee, Victor Dennis Tino Nierva
Region 6- Western Visayas Region - Aklan Antique, Capiz, Guimaras, and Iloilo Writers associated with this region: Felino GarciaJr., John Iramil, Isidro Cruz
NIR-Negros Island Region - Negros Occidental and Negros Oriental
Writers associated with this region: Isabel D. Sibullen, Marianne Villanueva
NIR-Negros Island Region - Negros Occidental and Negros Oriental
Writers associated with this region: Isabel D. Sibullen, Marianne Villanueva
Region 8 - Eastern Visayas region - Samar, Leyte, and Biliran
Writers: Voltaire Oyzon, Timothy R. Montes
Region 9 - Zamboanga Peninsula - Zamboanga del Norte, Zamboanga del Sur, Zamboanga Sibugay, Zamboanga City, and Isabela Writers: Mig Alvarez Enriquez, Servando D. Halili Jr. Antonio R. Enriquez
Region 10- Northern Mindanao Region- Bukidnon, Camiguin, Lanao del Norte, Misamis Oriental, Misamis Occidental Writers: Ralph Semino Galan, Judith R. Dharmdas, Anthony Tan
12 Region 11- Davao Region or Southern Mindanao Region-Compostela Valley, Daval del Norte, Davao del Sur, Davao Oriental, and Davao Occidental Writers: Candy Gourlay, Salud M. Carrido
Region 12 - SOCCSKSARGEN or Central Mindanao Region- South Cotabato, Cotabato, Sultan Kudarat, Sarangani, and General Santos Writers: Christine Godines-Ortega, Jaime An Lim
Region 13 - CARAGA Region- Agusan del Sur, Agusan del Norte, Surigao del Norte, Surigao del Sur, and Dinagat Islands Writers: Joey Ayala, Tita Lacambra-Ayala
ARMM (Autonomous Region in Muslim Mindanao) - Asila (except Isabela City), Lanao del Sur, Maguindanao, Sulu, and Tawi-Tawi Writers: Steven Prince Patrick C. Fernandez, Mehol K. Sadain
Source: Beyond Borders (Reading Literature in the 21st century) by MARIA GABRIELA P MARTIN et.al.
SOME NOTABLE WRITERS FROM DIFFERENT REGIONS
AND THEIR CONTRIBUTIONS TO PHILIPPINE LITERATURE MICHAEL M. COROZA writes poetry, fiction, critical essays and is engaged in literary translation. The writer's works have been published in national and international literary magazines: Kritika Kultura, Philippine Studies, Unitas, Tomas, Bulawan Journal of Arts and Culture, Daluyan, Loyola Schools Review, and the Malay Indonesian Studies.
He is famous for promoting the traditional poetic genre of the Philippines
"Balagtasan". He participated in international poetry readings "Kuala Lumpur-10" (2004) and the Second literary festival "Korea-ASEAN" in Jakarta (2011). Among his works are: ASEANO: An Anthology of Poems from Southeast Asia (1995), Dili’t Dilim (1997), Sounds of Asia (2011), Ang mga Lambing ni Lolo Ding (2012), and Nawawala si Muningning (2015). Source: panitikan.ph Source:panitikan.ph Source:panitikan.ph
MANUEL E. ARGUILLA (1911-1944) was an Ilocano who
wrote in English. He was best known for his short story, "How My Brother Leon Brought Home a Wife", which received first prize in the Commonwealth Literary Contest in 1940. Most of his stories depict life in Barrio Nagrebcan, Bauang, La Union, where he was born in 1911.
Source:http://pinoylit.hypermart.net Source:http://pinoylit.hypermart.net Anthony Tan was born on 26 August 1947, Siasi [Muddas], Sulu. His degrees AB English, 1968, MA Creative Writing, 1975, and Ph.D. English Lit., 1982 were all obtained from the Silliman University where he edited Sands and Coral, 1976. For more than a decade, he was a member of the English faculty at SU and regular member of the panel of critics in the Silliman Writers Workshop. He taught briefly at the DLSU and was Chair of the English Dept. at MSU Iligan Institute of Technology where he continues to teach. A member of the Iligan Arts Council, he helps Jaime An Lim and Christine Godinez-Ortega run the Iligan Writers Workshop/Literature Teachers Conference. He also writes fiction and children’s stories. He has won a number of awards, among them, the Focus Award for poetry, the Palanca Source: 1st prize for Poems for Muddas in 1993; also, the Palanca for essay. Among https://www.xu.edu.p h/xavier-news his works are The Badjao Cemetery and Other Poems, 1985 and Poems for Muddas, Anvil, 1996. 13 JOSÉ IÑIGO HOMER LACAMBRA AYALA or also known as Joey Ayala was born on June 1, 1956 in Bukidnon, Philippines.
He was known for his folk and contemporary pop music artist in the Philippines, he is also known for his songs that are more on the improvement of the environment. He is a finalist of Philippine Popular Music Festival 2013.
Source: One Music PH Source: songhits.ph
MERLIE M. ALUNAN graduated from Silliman University with an MA in Creative Writing in 1974. She teaches at the Creative Writing Center, University of the Philippines Visayas Tacloban College. She lives in Tacloban City. She received various awards like Lillian Jerome Thornton Award for Nonfiction, Don Carlos Palanca Memorial Award for Literature, National Book Award, Sunthorn Phu Literary Awards, and Ani ng Dangal. Among her works are Heartstone, Sacred Tree, Amina among the angels, Selected poems, Kabilin: 100 Years of Negros Oriental, Fern Garden: An Anthology of Women Writing in the South, Songs of ourselves: writings by Filipino women in English, and many others.
Source: Alchetron.com Source: philstar.com
IVY ALVAREZ is a New Zealand-based Filipino Australian poet, editor, and
reviewer. Alvarez has had her work featured in various publications in Australia, Canada, England, the Philippines, New Zealand, Ireland, Russia, Scotland, Wales, the US, South Africa, and online. Alvarez was born in the Philippines and grew up in Tasmania, Australia. While reading English at the University of Tasmania, she published in various literary journals and anthologies, and subsequently became the reviews editor of Cordite Poetry Review, an Australian online poetry journal.
SUZETTE SEVERO DOCTOLERO (born December 16, 1968 Calabanga,
Camarines Sur) is a Filipino screenwriter for film and television. She is best known for being the creator of Encantadia in 2005 and the succeeding related television series including the Encantadia 2016 reboot. She is mostly credited as screenwriter, series creator and creative consultant for GMA Network.
Her other works include Amaya, Indio[ and My Husband's Lover. She also wrote the story for the film Let the Love Begin and became the creative consultant for the television series Alyas Robin Hood and Destined to be Yours. Source: LionHearTV Source: https://en.wikipedia.org/wiki/Suzette_Doctolero
14 AIDA RIVERA-FORD was born in Jolo, Sulu. She became the editor of the first two issues of Sands and Coral, the literary magazine of Silliman University. In 1949, she graduated with an AB degree, major in English, Cum Laude. In 1954, she obtained an MA in English Language and Literature at the University of Michigan and won the prestigious Jules and Avery Hopwood for fiction. In 1980, she founded the first school of Fine Arts in Mindanao – the Learning Center of the Arts, now known as the Ford Academy of the Arts.
Source: Panitikan.ph
Source: Panitikan.ph
Literary Piece #1:
Midsummer (American Colonial Literature) By Manuel E. Arguilla
He pulled down his hat until the wide brim touched his shoulders. He crouched lower under the cover of his cart and peered ahead. The road seemed to writhe under the lash of the noon-day heat; it swum from side to side, humped and bent itself like a feeling serpent, and disappeared behind the spur of a low hill on which grew a scrawny thicket of bamboo. There was not a house in sight. Along the left side of the road ran the deep, dry gorge of a stream, the banks sparsely covered by sun-burned cogon grass. In places, the rocky, waterless bed showed aridly. Farther, beyond the shimmer of quivering heat waves rose ancient hills not less blue than the cloud-palisaded sky. On the right stretched a land waste of low rolling dunes. Scattered clumps of hardy ledda relieved the otherwise barren monotony of the landscape. Far away he could discern a thin indigo line that was the sea. The grating of the cartwheels on the pebbles of the road and the almost soundless shuffle of the weary bull but emphasized the stillness. Now and then came the dry rustling of falling earth as lumps from the cracked sides of the gorge fell down to the bottom. He struck at the bull with the slack of the rope. The animal broke into a heavy trot. The dust stirred slumbrously. The bull slowed down, threw up his head, and a glistening thread of saliva spun out into the dry air. The dying rays of the sun were reflected in points of light on the wet, heaving flanks. The man in the cart did not notice the woman until she had rounded the spur of land and stood unmoving beside the road, watching the cart and its occupant come toward her. She was young, surprisingly sweet and fresh amidst her parched surroundings. A gaily stripped kerchief covered her head, the ends tied at the nape of her neck. She wore a homespun bodice of light red cloth with small white checks. Her skirt was also homespun and showed a pattern of white checks with narrow stripes of yellow and red. With both hands she held by the mouth a large, apparently empty, water jug, the cool red of which blended well with her dress. She was barefoot. She stood straight and still beside the road and regarded him with frank curiosity. Suddenly she turned and disappeared into the dry gorge. Coming to where she had stood a few moments before, he pulled up the bull and got out of the cart. He saw where a narrow path had been cut into the bank and stood a while lost in thought, absently wiping the perspiration from his face. Then he unhitched his bull and for a few moments, with strong brown fingers, kneaded the hot neck of the beast. Driving the animal before him, he followed the path. It led up the dry bed of the stream; the sharp fragments of sun-heated rocks were like burning coals under his feet. There was no sign of the young woman. He came upon her beyond a bed in the gorge, where a big mango tree, which had partly fallen from the side of the ravine, cast its cool shade over a well. She had filled her jar and was rolling the kerchief around her hand into a flat coil which she placed on her head. Without glancing at him, where he had stopped some distance off, she sat down of her heels, gathering the fold of her skirt between her wide-spread knees. She tilted the brimful jar to remove part of the water. One hand on the rim, the other supporting the bottom, she began to raise it to her head. She knelt on one kneeresting, for a moment, the jar onto her head, getting to her feet at the same time. But she staggered a little and water splashed down on her breast. The single bodice instantly clung to her bosom molding the twin hillocks of her breasts warmly brown through the wet cloth. One arm remained uplifted, holding the jar, while the other shook the clinging cloth free of her drenched flesh. Then not
15 once having raised her eyes, she passed by the young man, who stood mutely gazing beside his bull. The animal had found some grass along the path and was industriously grazing. He turned to watch the graceful figure beneath the jar until it vanished around a bend in the path leading to the road. Then he led the bull to the well, and tethered it to a root of the mango tree. "The underpart of her arm is white and smooth," he said to his blurred image on the water of the well, as he leaned over before lowering the bucket made of half a petroleum can. "And her hair is thick and black." The bucket struck with a rattling impact. It filled with one long gurgle. He threw his hat on the grass and pulled the bucket up with both hands. The twisted bamboo rope bit into his hardened palms, and he thought how... the same rope must hurt her. He placed the dripping bucket on a flat stone, and the bull drank. "Son of lightning!" he said, thumping the side of the bull after it had drunk the third bucketful, "you drink like the great Kuantitao!" A low, rich rumbling rolled through the cavernous body of the beast. He tied it again to the root, and the animal idly rubbed its horns against the wood. The sun had fallen from the perpendicular, and noticing that the bull stood partly exposed to the sun, he pushed it farther into shade. He fanned himself with his hat. He whistled to entice the wind from the sea, but not a breeze stirred. After a while he put on his hat and hurriedly walked the short distance through the gorge up to the road where his cart stood. From inside he took a jute sack which he slung over one shoulder. With the other arm, he gathered part of the hay at the bottom of the cart. He returned to the well, slips of straw falling behind him as he picked his way from one tuft of grass to another, for the broken rocks of the path has grown exceedingly hot. He gave the hay to the bull, Its rump was again in the sun, and he had to push it back. "Fool, do you want to broil yourself alive?" he said good-humoredly, slapping the thick haunches. It switched its long-haired tail and fell to eating. The dry, sweet-smelling hay made harsh gritting sounds in the mouth of the hungry animal. Saliva rolled out from the corners, clung to the stiff hairs that fringed the thick lower lip, fell and gleamed and evaporated in the heated air. He took out of the jute sack a polished coconut shell. The top had been sawed off and holes bored at opposite sides, through which a string tied to the lower part of the shell passed in a loop. The smaller piece could thus be slipped up and down as a cover. The coconut shell contained cooked rice still a little warm. Buried on the top was an egg now boiled hard. He next brought out a bamboo tube of salt, a cake of brown sugar wrapped in banana leaf, and some dried shrimps. Then he spread the sack in what remained of the shade, placed his simple meal thereon, and prepared to eat his dinner. But first he drew a bucketful of water from the well, setting the bucket on a rock. He seated himself on another rock and ate with his fingers. From time to time he drank from the bucket. He was half through with his meal when the girl came down the path once more. She had changed the wetted bodice. He watched her with lowered head as she approached, and felt a difficulty in continuing to eat, but went through the motions of filling his mouth nevertheless. He strained his eyes looking at the girl from beneath his eyebrows. How graceful she was! Her hips tapered smoothly down to round thighs and supple legs, showing against her skirt and moving straight and free. Her shoulders, small but firm, bore her shapely neck and head with shy pride. When she was very near, he ate more hurriedly, so that he almost choked. He did not look at her. She placed the jar between three stones. When she picked up the rope of the bucket, he came to himself. He looked up--straight into her face. He saw her eyes. They were brown and were regarding him gravely, without embarrassment; he forget his own timidity. "Won't you join me, Ading?" he said simply. He remained seated. Her lips parted in a half smile and a little dimple appeared high upon her right cheek. She shook her head and said: "God reward you, Manong." "Perhaps the poor food I have is not fit for you?" "No, no. It isn't that. How can you think of it? I should be ashamed. It is that I have must eaten myself. That is why I came to get water in the middle of the day--we ran out of it. I see you have eggs and shrimps and sugar. Why, be had nothing but rice and salt." "Salt? Surely you joke." "I would be ashamed..." "But what is the matter with salt?" "Salt...salt...Makes baby stout," he intoned. "My grandmother used to sing that to me when I complained of our food." They laughed and felt more at ease and regarded each other more openly. He took a long time fingering his rice before raising it to his mouth, the while he gazed up at her and smiled for no reason. She smile back in turn and gave the rope which she held an absent-minded tug. The bucket came down from its perch of rock in a miniature flood. He leaped
16 to his feet with a surprised yell, and the next instant the jute sack on which he lay his meal was drenched. Only the rice inside the coconut shell and the bamboo of tube of salt were saved from the water. She was distressed, but he only laughed. "It is nothing," he said. "It was time I stopped eating. I have filled up to my neck." "Forgive me, Manong," she insisted. "It was all my fault. Such a clumsy creature I am." "It was not your fault," she assured him. "I am to blame for placing the bucket of water where I did." "I will draw you another bucketful," he said. "I am stronger than you." "No, you must let me do it.”
But when he caught hold of the bucket and stretched forth a brawny arm for the coil of rope in her hands, she surrendered both to him quickly and drew back a step as though shy of his touch. He lowered the bucket with his back to her, and she had time to take in the tallness of him, the breadth of his shoulders, the sinewy strength of his legs. Down below in the small of his back, two parallel ridges of rope-like muscle stuck out against the wet shirt. As he hauled up the bucket, muscles rippled all over his body. His hair, which was wavy, cut short behind but long in fronts fell in a cluster over his forehead. "Let me hold the bucket while you drink," she offered. He flashed her a smile over his shoulders as he poured the water into her jar, and again lowered the bucket. "No, no, you must not do that." She hurried to his side and held one of his arms. "I couldn't let you, a stranger..." "Why not?" He smiled down at her, and noticed a slight film of moisture clinging to the down on her upper lip and experienced a sudden desire to wipe it away with his forefinger. He continued to lower the bucket while she had to stand by. "Hadn't you better move over to the shade?" he suggested, as the bucket struck the water. "What shall I do there?" she asked sharply, as though the idea of seeking protection from the heat were contemptible to her. "You will get roasted standing here in the sun," he said, and began to haul up the bucket. But she remained beside him, catching the rope as it feel from his hands, coiling it carefully. The jar was filled, with plenty to drink as she tilted the half-filled can until the water lapped the rim. He gulped a mouthful, gargled noisily, spewed it out, then commenced to drink in earnest. He took long, deep droughts of the sweetish water, for he was more thirsty than he had thought. A chuckling sound persisted in forming inside his throat at every swallow. It made him self- conscious. He was breathless when through, and red in the face. "I don't know why it makes that sound," he said, fingering his throat and laughing shamefacedly. "Father also makes that sound when he drinks, and mother always laughs at him," she said. She untied the headkerchief over her hair and started to roll it. Then sun had descended considerably and there was now hardly any shade under the tree. The bull was gathering with its tongue stray slips of straw. He untied the animal to lead it to the other side of the girl who spoke; "Manong, why don't you come to our house and bring your animal with you? There is shade and you can sleep, though our house is very poor.” She had already placed the jar on her head and stood, half-turned to him, waiting for his answer. "I would be troubling you, Ading." "No. You come. I have told mother about you." She turned and went down the path. He sent the bull after her with smart slap on its side. Then he quickly gathered the remains of his meal, put them inside the jute sack which had almost dried, and himself followed. Then seeing that the bull had stopped to nibble the tufts of grass that dotted the bottom of the gorge, he picked up the dragging rope and urged the animal on into a trot. They caught up with the girl near the cart. She stopped to wait. He did not volunteer a word. He walked a step behind, the bull lumbering in front. More than ever he was conscious of her person. She carried the jar on her head without holding it. Her hands swung to her even steps. He drew back his square shoulders, lifted his chin, and sniffed the motionless air. There was a flourish in the way he flicked the rump of the bull with the rope in his hand. He felt strong. He felt very strong. He felt that he could follow the slender, lithe figure to the end of the world.
End
17 Literary Piece #2: Love in the Cornhusks By Aida L. Rivera
Tinang stopped before the Señora’s gate and adjusted the baby’s cap. The dogs that came to bark at the gate were strange dogs, big-mouthed animals with a sense of superiority. They stuck their heads through the hogfence, lolling their tongues and straining. Suddenly, from the gumamela row, a little black mongrel emerged and slithered through the fence with ease. It came to her, head down and body quivering. “Bantay. Ay, Bantay!” she exclaimed as the little dog laid its paws upon her shirt to sniff the baby on her arm. The baby was afraid and cried. The big animals barked with displeasure. Tito, the young master, had seen her and was calling to his mother. “Ma, it’s Tinang. Ma, Ma, it’s Tinang.” He came running down to open the gate. “Aba, you are so tall now, Tito.” He smiled his girl’s smile as he stood by, warding the dogs off. Tinang passed quickly up the veranda stairs lined with ferns and many-colored bougainville. On landing, she paused to wipe her shoes carefully. About her, the Señora’s white and lavender butterfly orchids fluttered delicately in the sunshine. She noticed though that the purple waling- waling that had once been her task to shade from the hot sun with banana leaves and to water with mixture of charcoal and eggs and water was not in bloom. “Is no one covering the waling-waling now?” Tinang asked. “It will die.” “Oh, the maid will come to cover the orchids later.” The Señora called from inside. “Tinang, let me see your baby. Is it a boy?” “Yes, Ma,” Tito shouted from downstairs. “And the ears are huge!” “What do you expect,” replied his mother; “the father is a Bagobo. Even Tinang looks like a Bagobo now.” Tinang laughed and felt warmness for her former mistress and the boy Tito. She sat self-consciously on the black narra sofa, for the first time a visitor. Her eyes clouded. The sight of the Señora’s flaccidly plump figure, swathed in a loose waist-less housedress that came down to her ankles, and the faint scent of agua de colonia blended with kitchen spice, seemed to her the essence of the comfortable world, and she sighed thinking of the long walk home through the mud, the baby’s legs straddled to her waist, and Inggo, her husband, waiting for her, his body stinking of tuba and sweat, squatting on the floor, clad only in his foul undergarments. “Ano, Tinang, is it not a good thing to be married?” the Señora asked, pitying Tinang because her dress gave way at the placket and pressed at her swollen breasts. It was, as a matter of fact, a dress she had given Tinang a long time ago. “It is hard, Señora, very hard. Better that I were working here again.” “There!” the Señora said. “Didn’t I tell you what it would be like, huh? . . . that you would be a slave to your husband and that you would work a baby eternally strapped to you. Are you not pregnant again?” Tinang squirmed at the Señora’s directness but admitted she was. “Hala! You will have a dozen before long.” The Señora got up. “Come, I will give you some dresses and an old blanket that you can cut into things for the baby.” They went into a cluttered room which looked like a huge closet and as the Señora sorted out some clothes, Tinang asked, “How is Señor?” “Ay, he is always losing his temper over the tractor drivers. It is not the way it was when Amado was here. You remember what a good driver he was. The tractors were always kept in working condition. But now . . . I wonder why he left all of a sudden. He said he would be gone for only two days . . . .” “I don’t know,” Tinang said. The baby began to cry. Tinang shushed him with irritation. “Oy, Tinang, come to the kitchen; your Bagobito is hungry.” For the next hour, Tinang sat in the kitchen with an odd feeling; she watched the girl who was now in possession of the kitchen work around with a handkerchief clutched I one hand. She had lipstick on too, Tinang noted. the girl looked at her briefly but did not smile. She set down a can of evaporated milk for the baby and served her coffee and cake. The Señora drank coffee with her and lectured about keeping the baby’s stomach bound and training it to stay by itself so she could work. Finally, Tinang brought up, haltingly, with phrases like “if it will not offend you” and “if you are not too busy” the purpose of her visit–which was to ask Señora to be a madrina in baptism. The Señora readily assented and said she would provide the baptismal clothes and the fee for the priest. It was time to go. “When are you coming again, Tinang?” the Señore asked as Tinang got the baby ready. “Don’t forget the bundle of clothes and . . . oh, Tinang, you better stop by the drugstore. They asked me once whether you were still with us. You have a letter there and I was going to open it to see if there was bad news but I thought you would be coming.”
18 A letter! Tinang’s heart beat violently. Somebody is dead; I know somebody is dead, she thought. She crossed herself and after thanking the Señora profusely, she hurried down. The dogs came forward and Tito had to restrain them. “Bring me some young corn next time, Tinang,” he called after her. Tinang waited a while at the drugstore which was also the post office of the barrio. Finally, the man turned to her: “Mrs., do you want medicine for your baby or for yourself?” “No, I came for my letter. I was told I have a letter.” “And what is your name, Mrs.?” He drawled. “Constantina Tirol.” The man pulled a box and slowly went through the pile of envelopes most of which were scribbled in pencil, “Tirol, Tirol, Tirol. . . .” He finally pulled out a letter and handed it to her. She stared at the unfamiliar scrawl. It was not from her sister and she could think of no one else who could write to her. Santa Maria, she thought; maybe something has happened to my sister. “Do you want me to read it for you?” “No, no.” She hurried from the drugstore, crushed that he should think her illiterate. With the baby on one arm and the bundle of clothes on the other and the letter clutched in her hand she found herself walking toward home. The rains had made a deep slough of the clay road and Tinang followed the prints left by the men and the carabaos that had gone before her to keep from sinking mud up to her knees. She was deep in the road before she became conscious of her shoes. In horror, she saw that they were coated with thick, black clay. Gingerly, she pulled off one shoe after the other with the hand still clutching to the letter. When she had tied the shoes together with the laces and had slung them on an arm, the baby, the bundle, and the letter were all smeared with mud. There must be a place to put the baby down, she thought, desperate now about the letter. She walked on until she spotted a corner of a field where cornhusks were scattered under a kamansi tree. She shoved together a pile of husks with her foot and laid the baby down upon it. With a sigh, she drew the letter from the envelope. She stared at the letter which was written in English.
My dearest Tinay,
Hello, how is life getting along? Are you still in good condition? As for myself, the same as usual. But you’re far from my side. It is not easy to be far from our lover. Tinay, do you still love me? I hope your kind and generous heart will never fade. Someday or somehow I’ll be there again to fulfill our promise. Many weeks and months have elapsed. Still I remember our bygone days. Especially when I was suffering with the heat of the tractor under the heat of the sun. I was always in despair until I imagine your personal appearance coming forward bearing the sweetest smile that enabled me to view the distant horizon. Tinay, I could not return because I found that my mother was very ill. That is why I was not able to take you as a partner of life. Please respond to my missive at once so that I know whether you still love me or not. I hope you did not love anybody except myself. I think I am going beyond the limit of your leisure hours, so I close with best wishes to you, my friends Gonding, Sefarin, Bondio, etc.
Yours forever, Amado P.S. My mother died last month. Address your letter: Mr. Amado Galauran Binalunan, Cotabato
It was Tinang’s first love letter. A flush spread over her face and crept into her body. She read the letter again. “It is not easy to be far from our lover. . . . I imagine your personal appearance coming forward. . . . Someday, somehow I’ll be there to fulfill our promise. . . .” Tinang was intoxicated. She pressed herself against the kamansi tree. My lover is true to me. He never meant to desert me. Amado, she thought. Amado. And she cried, remembering the young girl she was less than two years ago when she would take food to Señor in the field and the laborers would eye her furtively. She thought herself above them for she was always neat and clean in her hometown, before she went away to work, she had gone to school and had reached sixth grade. Her skin, too, was not as dark as those of the girls who worked in the fields weeding around the clumps of abaca. Her lower lip jutted out disdainfully when the farm hands spoke to her with many flattering words. She laughed when a Bagobo with two hectares 19 of land asked her to marry him. It was only Amado, the tractor driver, who could look at her and make her lower her eyes. He was very dark and wore filthy and torn clothes on the farm but on Saturdays when he came up to the house for his week’s salary, his hair was slicked down and he would be dressed as well as Mr. Jacinto, the schoolteacher. Once he told her he would study in the city night-schools and take up mechanical engineering someday. He had not said much more to her but one afternoon when she was bidden to take some bolts and tools to him in the field, a great excitement came over her. The shadows moved fitfully in the bamboo groves she passed and the cool November air edged into her nostrils sharply. He stood unmoving beside the tractor with tools and parts scattered on the ground around him. His eyes were a black glow as he watched her draw near. When she held out the bolts, he seized her wrist and said: “Come,” pulling her to the screen of trees beyond. She resisted but his arms were strong. He embraced her roughly and awkwardly, and she trembled and gasped and clung to him. . . . A little green snake slithered languidly into the tall grass a few yards from the kamansi tree. Tinang started violently and remembered her child. It lay motionless on the mat of husk. With a shriek she grabbed it wildly and hugged it close. The baby awoke from its sleep and cries lustily. Ave Maria Santisima. Do not punish me, she prayed, searching the baby’s skin for marks. Among the cornhusks, the letter fell unnoticed.
End
Literary Piece #3: Literary Piece #4:
Crossing the River Karaniwang Tao
by Anthony Tan By Joey Ayala Ako po'y karaniwang tao lamang Came upon a river shrouded in mist. Kayod-kabayo, 'yan ang alam Too early for bird call, or wing beat, Karaniwang hanap-buhay Too early even for wind. Karaniwan ang problema A giant conch shell on a beaded string Pagkain, damit at tirahan Hung on the branch of a leafless tree. It belonged to the boatman of the river. 'Di ko kabisado 'yang siyensya With little energy I blew it long and thin, Ako'y nalilito sa maraming salita Remembering what I had been taught, Alam ko lang na itong planeta'y Cupping it between my delicate hands. Walang kapalit at dapat ingatan On the edge of that feeble call Kapag nasira, sino ang kawawa An apparition darkened the thick mist. Slowly the bow emerged in the hush of dawn. Chorus Beckoned me to his boat. Didn't tell him Karaniwang tao, saan ka tatakbo Where to and he didn't ask, as if Kapag nawasak iisang mundo My destination were already foreknown. Karaniwang tao, anong magagawa He didn't paddle. He hesitated. Upang bantayan ang kalikasan He waited as if he had forgotten something. Looked me straight in the eye. Karaniwang bagay ay 'di pansin When I didn't respond immediately, Kapag naipon ay nagiging suliranin He opened one bony hand, Kaunting basura ngayo'y bundok The white palm trembling with greed. Kotseng sira ay umuusok The other hand gripped the head of a long pole. Sabong panlaba'y pumapatay sa ilog Then I remembered what I had been taught: I dropped a silver coin into his open palm. May lason na galing sa industriya He gripped it, dropped it into a bulging purse Ibinubuga ng mga pabrika That was tightly sewn to his leather belt. Ngunit 'di lamang higante The drop of silver on silver Ang nagkakalat ng dumi Was the only sound in the soundless mist. May kinalaman din ang tulad natin Only then did a fugitive grin light up his face. Only then did he strike [Repeat chorus twice] The murky water with the pole. Karaniwang tao [4x] There was no one to say goodbye to. No friends. No kinsmen. No lovers. [Repeat chorus] The gurgle in the wake took the place of words. Karaniwang tao The boat moved toward the other bank, where He had unloaded his boat of so many strangers. [Repeat till fade]
20 YOUR DISCOVERY TASKS
A. On your answer sheet, enumerate atleast 2 contributions of literature of each of the following writers. (5 points each)
1. Michael M. Coroza 2. Ivy Alvarez 3. Suzette Severo Doctolero 4. Anthony Tan 5. Manuel Arguilla
B. Appreciating literary pieces. Read the statements and write the letter of your answer.
FROM THE STORY “MIDSUMMER” BY MANUEL ARGUILLA
1. The two contrasting images in the story are__ a. aridity and freshness b. love and hate c. hope and despair 2. Manong came upon Ading beyond a bend in the gorge where a big __tree cast a cool shade. a. bamboo b. atis c. mango 3. Ading brought with her a __ when she met Manong. a. jug b. coconut shell c. pail 4. The story “Midsummer” effectively depicts the ___. a. rural setting b. urban setting c. city life 5. The presence of Ading amidst the parch sorrounding added the sense of____. a. beauty b. freshness c. hope 6. The man showed his machismo to the woman by ___. a. inviting her to eat b. helping her to draw water c. looking at her intently 7. Ading showed that she also liked Manong when she __ a. invited him to come to their house to rest b. went back to the gorge to fetch water again c. gave him water to drink 8. The author of the story was__. a. Aida Rivera-Ford b. Manuel Arguilla c. Ivy Alvarez 9. "Son of lightning!" is referred to a. pig b. bull c. horse 10. The narrator of the story is____. a. writer himself b. Ading c. Manong
FROM THE STORY “LOVE IN THE CORNHUSK” by Aida Rivera-Ford
1. Tinang was married to a __ a. Manobo b. Bagobo c. Muslim 2. The post office of the barrio was the __. a. school b. drugstore c. barangay hall 3. Amado left the seńora’s house because his __was sick. a. mother b. sister c. father 4. The purpose of Tinang’s visit was to ask the seńora to be the madrina in her son’s__ a. wedding b. confirmation c. baptism 5. “Love in the Cornhusks” was written by__. a. Aida Rivera-Ford b. Manuel Arguilla c. Joey Ayala 6. The story was entitled “Love in the Cornhusks” because___. a. Tinang received her first love letter b. Tinang remebered her lost love when she read the letter amidst the cornhusks c. Tinang and Amado fell in love in the cornhusks. 7. At what point in her life did Tinang make a serious mistake? a. When she married a Bagobo without waiting for Amado’s return. b. When she allowed herself to fall in love with Amado. c. When she left the seńora’s house. 8. The main theme of the story is__. a. Making impulsive decisions in life can cause misery. b. The consequences of one’s action is irreparable. c. In making life’s important decision, it is better to think twice. 9. What did Amado say in his letter that made Tinang intoxicated? 21 a. “It is not easy to be far from our lover. . . b. I imagine your personal appearance coming forward. . . c. Someday, somehow I’ll be there to fulfill our promise… d. all of the above 10. What do these mean, “Ave Maria Santisima. Do not punish me”? a. Tinang realized that she should not have thought intensely about Amado. b. Tinang should not put her baby on the cornhusk to sleep c. both a and b
C. Instruction: What word in the box corresponds to each of the following statements below? Write the letter of your choice.
a. Lourd de Veyra h. Anthony Tan
b. Ralph Semino Galan i. Joey Ayala c. Internet j. Aida Rivera Ford d. blogs k. Ivy Alvarez e. Sen. Alan Peter Cayetano l. Manuel Arguilla f. magazines m. Merlie M. Alunan g. Suzette Severo Doctolero
1. Through its existence, many contemporary authors are publishing their work online. 2. He is a writer associated in National Capital Region. 3. An example of 21st Century Literature of the Philippines. 4. He remarked that government should stop giving the bulk of its national budget to Metro Manila alone. 5. A writer who comes from Northern Mindanao. 6. She is a Filipino screenwriter for film and television. 7. He is a writer and Chair of the English Dept. at MSU-Iligan Institute of Technology where he continues to teach. 8. He is a singer and composer of “Karaniwang Tao” song. 9. The writer of “Midsummer” 10.The writer of “Love in the Cornhusks”
YOUR FINAL TASK
A. Your Performance Task for this lesson will be posted in our Google Classroom.
21ST CENTURY LITERARY GENRES
LESSON ELEMENTS, STRUCTURES AND 3 TRADITIONS
YOUR GOALS
At the end of this lesson, the learners are expected to:
1. Define what literary genre is;
2. Identify the different literary genres of the 21st century and the earlier periods in Philippine history; and 3. Use a Venn diagram in comparing and contrasting the 21st century Philippine literary genres and those in the earlier time.
YOUR INITIAL TASK
A. INSTRUCTIONS: Read and answer the following statements. Write the letter of the correct answer
22 1. These are forms of folk lyric that speak volumes of the typical rural lives and reflect people’s aspirations and lifestyles. a. proverbs b. riddles c. songs d. epics 2. These are called sawikain or salawikain. a. riddles b. folk songs c. epics d. proverbs 3. These are long narrative accounts of heroic exploits. a. epics b. legends c. chants d. fables 4. It is a hybrid genre that incorporates elements of fiction and poetry in retelling of a personal experience. a. drama b. creative nonfiction c. creative fiction d. novel 5. Defined as narrative literary works whose content is produced by the imagination. a. drama b. nonfiction c. fiction d. creative nonfiction
YOUR DISCOVERY 3.0
What is the definition of literary genre?
Literary genre is a category of literary composition. Genres may be determined by literary technique, tone, content, or even (as in the case of fiction) length. The distinctions between genres and categories are flexible and loosely defined, often with subgroups. The most general genres in literature are epic, tragedy, comedy, and creative nonfiction. They can all be in the form of prose or poetry. Additionally, a genre such as satire, allegory or pastoral might appear in any of the above, not only as a subgenre, but as a mixture of genres. Finally, they are defined by the general cultural movement of the historical period in which they were composed. Genre should not be confused with age categories, by which literature may be classified as either adult, young-adult, or children's. They also must not be confused with format, such as graphic novel or picture book.-SHS Curriculum Guide, 21st Century Literature of the Philippines and the World.
YOUR DISCOVERY TASK
A. INSTRUCTION: After reading the definition above, on your answer sheet, list down three examples of literary genres.
The multiplicity of Philippine literature progressed alongside its rich history. Its themes are rooted in the context of the Philippine’s pre-colonial cultural traditions and the socio-political histories of its colonial and contemporary ways. However, some Filipinos encounter unfamiliarity with the literature of the past essentially due to what has been taught upon us, that our country was ‘discovered’ and, hence, Philippine ‘history’ began in March 1521. Through the comprehensive works of archaeologists, anthropologists, and ethnologists, we have known more information about our pre-colonial times established against loads of material about early Filipinos as recorded by chroniclers of the past. Let us now look into the different Philippine literary genres that emerged through time:
The Pre-colonial Period
The Pre-colonial Filipinos demonstrated rich-lived experiences orally expressed in their folk speeches, songs, narratives, and indigenous rituals and mimetic dances. These are passed down from generation to generation. The most common of these are:
a. Riddles – These are mystifying statements or questions phrased and rhymed to require ingenuity in determining its answer. These are presented as a game and considered as forms of entertainment during the earlier times. Talinghaga or metaphor is dominant in any riddles as it discloses subtle comparisons between unlike things, thus, wit and observation are required in this mental exercise. For the Visayans, these are called tigmo, for the Tagalogs, bugtong. For the Ilongos, paktakon and for the Bicolanos, atototdon. Here are the examples:
Tigmo Paktakon Baboy sa lasang (A wild pig in the forest,) Ano nga tuboran Masulog sa tag-init, (What spring flow Ang tunok puro lansang. (Is covered with spikes) in summer) Answer: Nangka (Jackfruit) Ginabubsan kong tag-ulan?. (and run dry on rainy days?) Answer: Balhas (Sweat) 23 b. Proverbs - These are called sawikain or salawikain in Tagalog or sarsarita in Ilocano. Philippine proverbs are wise sayings that prescribe codes of behavior, mirror societal norms, traditions, and beliefs and impart lessons in brief, rhyming verse. Read the examples below:
Ilocano on Guilt Hiligaynon on Suffering
Ti agutak, (He who cackles) Kon indi ikaw mag-antos (If you don’t sacrifice) Isut nagitlog. (laid the egg.) Indi ka gid magsantos.( You can’t be a saint.) c. Songs – These are forms of folk lyric speak volumes of the typical rural lives and reflect people’s aspirations and lifestyles. Here are some song categories of our ancestors:
Folk Songs Lullaby Serenade
(Awit ng (Oyayi) (Harana) Bayan)
i. Folk Songs (Awit ng Bayan) – These are songs with lines often described as repetitive, didactic, and sonorous. The following are examples of famous Filipino folk songs:
Magtanim ay di Biro Dandansoy
(Tagalog Folk Song) (Visayan Folk Song)
Magtanim ay di biro Dandansoy, bayaan ta ikaw
Maghapong nakayuko Pauli ako sa payag Di man lang makaupo Ugaling kung ikaw hidlawon Di man lang makatayo Ang payag imo lang lantawon. Braso ko’y namamanhid Baywang ko’y nangangawit. Dandansoy, kung imo Binti ko’y namimitig apason Sa pagkababad sa tubig. Bisan tubig di magbalon Ugaling kung ikaw uhawon Sa umaga, paggising Sa dalan magbubon-bubon. Ang lahat, iisipin Kung saan may patanim Kumbento, diin ang cura? May masarap na pagkain Munisipyo, diin justicia? Yari si dansoy makiha. Halina, halina, mga kaliyag, Makiha sa pag-higugma Tayo’y magsipag-unat-unat. Magpanibago tayo ng lakas Ang panyo mo kag panyo ko Para sa araw ng bukas Dal-a diri kay tambihon ko (Bisig ko’y namamanhid Ugaling kung magkasilo Baywang ko’y nangangawit. Bana ta ikaw, asawa mo Binti ko’y namimintig ako. Sa pagkababad sa tubig.)
Kay-pagkasawing-palad Ng inianak sa hirap, Ang bisig kung di iunat, Di kumita ng pilak
ii. Lullaby (Oyayi) – These are soothing songs often sung to put babies to sleep. The following is an Ilocano lullaby with its English translation:
Maturug, duduayya Go to sleep, dear little one
Maturog kad tay bunga, Will my child please sleep, Tay lalaki nga napigsa This strong boy Ta inton dumakkel tay bunga, So when the child grows big Isunto aya tay mammati He will obey Tay amon a ibaga me. Everything that we say. 24 iii. Serenade (Harana) – These are courtship songs used by young men to capture the heart of the girl they love.
d. Chants (Bulong) – These are used to give respect, excuse, or apology to unseen or other elemental spirits our ancestors believed in to deliver them from danger orharm. Moreover, these are utilized in enchantments and even in witchcraft. Read the examples below:
Tabi-tabi po, Ingkong, makikiraan po lamang (Tagalog)
Bari-bari po, Apo, umisbo la ting tao. (Ilokano) Ikaw ang nagnanakaw ng bigas ko Lumuwa sana ang mata mo Mamaga sana ang katawan mo Patayin ka ng mga anito.
e. Epics – These are long narrative accounts of heroic exploits. Examples of these are Darangen in Maranaw, Aliguyon at Hudhud in Ifugao, Ibalon in Bicol. Below is a guman or epic of the Subanen people of Zamboanga, which is chanted during Buklog or festivals.
Ag Tobig Nog Keboklagan (The Kingdom of Keboklagan)
The epic begins with Timoway’s quandary as to how to support his wife who is about to giving birth. He decides to earn money by being a whetter of tools in the neighboring villages. He leaves Sirangan with his assistant Kasangolan and fifteen datus. However, their boat refuses to move until Timoway beheads one of his companions.
In the village Batotobig, Datu Sakandatar decides to join Timoway,
although his wife, like Timoway’s, is pregnant. While they are cruising, Diwata Pegeraman- the goddess of wind, lighting, and thunder-invites them to her abode to chew mamaq, betel nut. Rejected by the datu, she creates a storm that breaks Timoway’s vessel and kills Timoway and his companions. The broken and now empty vessel returns to Sirangan. Learning about the incident, Timoway’s wife, Balo Libon, cries so intensely that she gives birth to a boy. At this same instance, Sakadanbar’s wife in Batotoy also gives birth to a boy. Balo Libon names her son Taake. He grows quickly, and after seven months, Taake asks about his father. When he is told that his father’s death was not caused by a mortal, he becomes happy. Learning that his father was a fisher, Taake asks for his father’s hook and line. With the aid of his magic, he establisheshimself as an excellent fisher. One day, Taake, now a young man, ask his mother for clothes to go deep-sea fishing. The request surprises her, for Taake has never asked for clothes. Questioned, he explains that he is embarrassed to be naked in the company of ladies. Balo Libon then grooms her son. At sea, Taake hooks a fish with golden scales, but it drags him farther and farther away from the shore. The tug of war lasts for months, until an eel warns Taake to go home and offers him help to get there. But Taake only kills the eel. A storm develops, and Taake sinks. He sees a shore under the sea and sets foot on it. Finding a horse with his hook and line in its mouth, he pursues it with karisan or sword, but the animal escapes him. Taake has reached Keboklagan. Taake sees a tower. He climbs a ladder with golden rungs to reach the top of the tower. There, he finds a woman, nearly naked, sewing. Called the Lady of Pintawan, she invites him to chew mamaq. As they chew, their eyes meet an exchange message of love. Taake courts her for seven days. Finally, the Lady of Pintawan accepts Taake’s offer of marriage. However, the romance is blocked by two men, Towan Salip and Soratan Domatong, who abhor the idea of the Lady of Pintawan marrying a Subanon. The two rally the folks of Keboklagan and urge them to kill Taake. The Lady of Pintogan, a close friend of the Lady of Pintawan, learns about the plot and flies on her monsala or scarf to the Lady of Pintawan’s place. She advises Taake to take his wife to Sirangan. Taake however, insists on his innocence and refuses to leave Keboklagan. He fights the people who attack him. In Sirangan, the Datu Tomitib Manaon dreams of a lone Subanon fighting in Keboklagan. When he awakes, he prepares to help Taake, whom he discovers has been away from Sirangan for a long time. Accompanied by two other datus, he proceeds to Keboklagan. Although they lose their way at first, they finally arrive at Keboklagan, following Taake’s route. Taake approaches Tomitib for fighting without first asking for the reason for the fight. Saulagya Maola, the datu of
25 Keboklagan and the Lady of Pintawa’s brother arrive. The Ladies of Keboklagan explain to him the cause of the fight. He recalls his promise to his sister that anyone who can climb the ladder with rungs of blades shall be his sister’s husband. Saulagya Maola tells the two datus about the promise, but they insist on fighting. Saulagya, therefore, divides his kingdom between those who decide to fight and those who decide to withdraw from the battle. Tomitib Manaon asks Saulagya Maola if he can marry the Lady of Pintogan. But because of his incivility, she rejects Tomitib. Tomitib runs back to the crowd and starts fighting. Datu Liyo-liyo, hearing about the fight, rides his horse and proceeds to the battleground. Datu Liyo-liyo engages Tomitib in a hand-to-hand battle. Eventually, the datu of Sirangan defeats the datu of Keboklagan. The datus then proceed to other kingdoms to fight further. First, they challenge the chief of Dibaloy, Datu Bataqelo. Lilang Diwata, his sister, renames Taake Malompyag, or “he fights in all places”. Taake and Tomitib would have exterminated the whole kingdom had compassion not overtaken them after half of the population had fallen to their sword. In Todong-todong, Taake and Tomitib are invited by its chief to chew mamaq before they start fighting. After the chew, they annihilate the kingdom. The datus then proceed to Walo Sabang, ruled by Egdodan Magsorat and Egdodan Sabagan, who themselves do not fight. Their subjects, however, are sufficient, for they get resurrected after having been killed. Taake tires after seven months of fighting and falls asleep, leaving Tomitib to fight alone. In Taake’s dream, a girl instructs him to disguise himself as Towan Salip Palasti and to go to the Tower of Walo Sabang to get magical medicines by which to prevent the enemies from coming back to life. When he awakes, he does as instructed, and he and Tomitib defeat the army of Walo Sabang. At one point in the battle, Tomitib falls dead, but the women of Keboklagan restore him to life. The massive destruction disturbs the god Asog. He descends to the earth and reprimands the Sirangan. He instructs them to go home and hold a buklog, in which each of them will be given his partner. Asog fans his kerchief, bringing the dead to life. The datus return to Sirangan, where Taake finds his mother dying of longing for him. He kisses her and she revives. All the datus of the different kingdoms are invited to a buklog, and Asog gives each of them a partner in life.
f. Myths – These are symbolic narratives, usually of unknown origin and at least partly traditional, that ostensibly relate actual events and are especially associated with religious belief. Ancient Filipino myths include The Story of Bathala, and Ang Pag-aaway ng Dagat at Langit.
g. Legends – These are stories that explain the origin of things and phenomena in the surrounding world. Some of the most famous legends are: The Legend of Maria Makiling, The Legend of Mayon, and The Legend of Sampaguita.
h. Fables – These are brief stories for the children of the native Filipinos. These talk about supernatural or extraordinary people and usually follow in the form of narration that demonstrates a useful truth. These stories use animals as characters to represent a particular attribute or characteristic. One of the most orally narrated Filipino fables is Ang Kuneho at ang Pagong.
i. Folk tales (Kwentong Bayan) – These are stories that deal with the power of nature-personified, their submission to a deity (Bathala), and how the deity is responsible for the blessings and the curses in the form of calamities. These are often passed on from generation to generation by word of mouth.
The Spanish Period
The Spanish colonizers ruled the country for over 300 years. They used the cross to influence and impose their religion upon the natives. For more than three centuries of colonization in the Philippines, not only was our history as a nation altered but also our traditions, lifestyles, and belief systems. This has immensely influenced our literature. A shift of interest from writing about nature to writing about the Christian faith – of hymns, saints, miracles, and the teaching of the church, took place. Most of the writings were religious, secular, and at the latter part, propaganda and revolutionary.
Religious matters were in the form of prose as prayer books, novenas, biographies of saints, and the likes. Senakulo, a Filipino dramatization of the life and times of Jesus Christ presented during the Lent, was widely held. Pasyon, Philippine epic narrative of the life of Jesus Christ, was written in stanzas with five lines of eight syllables each and focused on his Passion, Death, and Resurrection. Dalit (psalm), a song praising God or the Virgin Mary and containing a philosophy of life, also became popular.
Secular or Non-religious literature also flourished. These are prominently tales of valiance and adventure. They include the following: a. Awit (Song)– These have measures of twelve syllables (dodecasyllabic) and are slowly sung to the accompaniment of a guitar or banduria. Francisco Baltazar’s Florante at Laura is the best example for this. 26 b. Kurido (Corrido) - These are metrical romances and tales that follow a structure of a poem. These have measures of eight syllables (octosyllabic) and recited to a martial beat. More often, these are tales of chivalry where a knight saves a princess. Ibong Adarna is an example of this.
c. Karagatan - This is a poetic vehicle of a socio-religious nature celebrated during the death of a person.
d. Duplo – This is a poetic joust in speaking and reasoning.
e. Prose Narratives – These are instructional materials that teach Filipinos proper decorum. Pagsusulatan ng Dalawang Binibini na si Urbana at Feliza (1864) is an example.
f. Sarswela – This is a type of drama that originated in Spain. It includes singing and dancing on stage with lyrics alternatively spoken and sung in operatic and popular styles.
The exposure of the Filipinos to Europe’s liberal idealism, the martyrdom of GomBurZa, the Cavite Mutiny in 1872 and the Spanish Revolution in 1868 led to Filipino consciousness (Martin, Guevarra, del Campo, 2016). This gave birth to two crucial and historic movements during this time – the Propaganda movement and the Revolutionary movement which awakened nationalism. The Propaganda movement was reformatory in objective and its members were Jose Rizal, Marcelo H.del Pilar, and Graciano Lopez-Jaena. They have published news, editorial, and satires that attacked Spanish rule. The exposure of the evils of the Spanish rule in the Philippines was because of Rizal’s novels: Noli Me Tangere and El Filibusterismo and has paved the way to a revolution against Spain. Del Pilar’s essays and editorials in Diariong Tagalog which he founded with Lopez-Jaena’s articles in La Solidaridad (where he was an editor) reflected nationalism that was dominant at this time. Lopez Jaena’s Fray Botod (1876) exposed how some friars were greedy, immoral, and ambitious. Del Pilar’s Dasalan at Tocsohan (Prayers and Jokes) was similar to that of a catechism but sarcastically done against the Spanish priests.
Revolutionary literature also loomed with exposes that sparked revolution and resistance among the Filipinos. Andres Bonifacio’s Katungkulang Gagawin ng mga Anak ng Bayan (Obligations of our Countrymen) outlined the obligations of Filipinos toward nationalism. Apolinario Mabini’s essay titled El Desarollo y Caida de la Republica Filipina (The Rise and Fall of Philippine Republic) highlighted the establishment of Philippine Republic and its subsequent downfall due to disunity among the Filipinos. Emilio Jacinto’s collection of essays called Liwanag at Dilim (Light and Darkness) was on work, faith, freedom, government, and patriotism.
The American Period The Philippines had a great leap in education and culture during the American colonization. During their time in the country, public school system was introduced and the usage of both English and Filipino was practiced. The literature during the American period was imitative of the form of American writing. Forms of poetry still followed the old structure but had contents that ranged from free writing and societal concerns under the American regime. Some poems focused on non-traditional themes such that of Jose Corazon de Jesus’ Mga Gintong Dahon (1920). This is a collection poem that tackled themes on passion-slaying, griefinduced, insanity and lover’s suicide. Drama also became popular as it was used to degrade the Spanish rule and immortalized the heroism of Filipinos who fought under the Katipunan. Remake novels also took up Dr. Jose Rizal’s portrayal of social conditions under colonial repression. Severino Reyes led the movement to supplant the komedya with a new type of drama, the sarswela (adaptation of the Spanish zarzuela). Sarswelas such as Juan Abad’s Tanikalang Guinto (1902), Juan Matapang Cruz’s Hindi Ako Patay (1903), and Aurelio Tolentino’s Kahapon, Ngayon, at Bukas (1903) allegorically presented the history of nationalist struggle.
The Japanese Period and the Republic
With the coming of the Japanese invaders, Philippine literature came to a halt. The English language was banned and the Filipino language was mandated under Japanese rule. For some, this seemed to be a problem but for others it was a blessing in disguise. Filipino literature was given a break in this period as many wrote plays, novels, poems, short stories with themes circling on life in the province, the arts, nationalism, and the likes. Many plays were reproduced from English to Tagalog. Writing during the Japanese reign were journalistic in nature. People felt suppressed but the spirit of nationalism slowly seeped into their consciousness. Thus, essays were composed to glorify Filipinos and to figuratively attack the Japanese.
27 21st Century Literature of the Philippines All literary works written and published at the later part of the 21st century (from 2001 onwards) are often characterized as gender sensitive, technologically alluding, culturally pluralistic, operates on the extreme reality or extreme fiction, and questions conventions and supposedly absolute norms. Just as technology advanced in the 21st century, Filipinos have also adapted, invented, and written some literary innovations far different from before. Philippine literature, nowadays, deals with current themes on technological culture and traces artistic representation of shared experiences. These works are characterized as gender sensitive, technologically alluding, culturally pluralistic, operates on the extreme reality or extreme fiction, and questions conventions and supposedly absolute norms. There are a lot of new forms from the basic genres of literature; thus, proving how far the literature in the Philippines has gone and how far it will go on from here.
The following are the most notable literary genres in the 21st century:
a. Drama- It is the genre of literature with stories composed of verse or prose which is meant to be dramatically or theatrically performed. Its emotions and conflicts are expressed through dialogue and movements or actions.
b. Creative nonfiction – It is also known as literary nonfiction or narrative nonfiction, is a genre of writing that uses literary styles and techniques to create factually accurate narratives.
c. Blog – It is a web log containing short articles called posts that can be changed regularly. Some blogs are written by one person (called blogger) containing his/her hobbies or interests, opinions, and experiences, while others are written by many different people.
d. Poetry – It is a verse and rhythmic writing with imagery that evokes an emotional response from the reader. Mina Roy defines poetry as “prose bewitched”. If fiction is concerned with plot action, poetry is “life distilled” through words and language. Poetry works via suggestion, implication, and ambiguity rather than straightforward communication. The art of poetry is rhythmical in composition, written or spoken. Poetry is for entertaining and exciting pleasure by beautiful, imaginative, or elevated thoughts.
i. Mobile phone Text tula - A particular example of this poem is a tanaga, a type of Filipino poem, consisting of four lines with seven syllables each with the same rhyme at the end of each line - that is to say a 7-7-7-7 syllabic verse, with an AABB rhyme scheme. The modern tanaga still uses the 7777 syllable count, but rhymes range from dual rhyme forms: AABB, ABAB, ABBA; to freestyle forms such as AAAB, BAAA, or ABCD. Tanagas do not have titles traditionally because the tanaga should speak for itself. However, moderns can opt to give them titles. Text tula is often read on cellular phones.
ii. Hyperpoetry – It is a form of digital poetry that uses links using hypertext mark-up. It is a very visual form, and is related to hypertext fiction and visual arts. The links mean that a hypertext poem has no set order, the poem moving or being generated in response to the links that the reader/user chooses. It can either involve set words, phrases, lines, etc. that are presented in variable order but sit on the page much as traditional poetry does, or it can contain parts of the poem that move and / or mutate. It is usually found online. The earliest examples date to no later than the mid-1980s.
iii. Spoken word poetry – It is a poem that has made its way into the hearts and souls of thousands of Filipinos especially the millennials. It is a type of poem performed or read in artistic and emotive manner which can be accompanied by music or presented in the streets or bars, even café shops. It is an oral art that focuses on the aesthetics of word play such as intonation and voice inflection. It is a "catchall" term that includes any kind of poetry recited aloud, including poetry readings, poetry slams, jazz poetry, and hip hop, and can include comedy routines and prose monologues. The most viewed YouTube Filipino spoken word artist is Juan Miguel Severo whose original poems have been performed in TV dramas like On The Wings of Love.
e. Fiction - Fiction has genres that can be defined as narrative literary works whose content is produced by the imagination and is not necessarily based on fact. In fiction something is feigned, invented, or imagined; a made-up story.
f Fantasy – It is the forming of mental images with strange or other worldly settings or characters and invites suspension of reality.
g. Humor – It is the faculty of perceiving what is amusing or comical. It is fiction full of fun, fancy, and excitement which meant to entertain. This genre of literature can actually be seen and contained within all genres.
28 YOUR DISCOVERY TASK
INSTRUCTIONS: On your answer sheet, write the literary genre described in each statement below. Choose your answers from the words found in the box.
play haiku Chick-lit folk song Science fiction Lullaby drama fable novel Hyper poetry sarswela short story blog poem graphic novel humor duplo legend
1. It is a narrative in comic book format.
2. It is a poetic joust in speaking and reasoning. 3. It is a story based on impact of potential science. 4. It is form of digital poetry that uses links of hypertext mark-up. 5. It is a soothing song often sung to put babies to sleep. 6. It is fiction full of fun, fancy, and excitement which meant to entertain. 7. It is fictitious narrative about the origin of the place, name person or thing. 8. It is a weblog containing short articles called posts that can be changed regularly. 9. This is a genre which addresses issues of modern womanhood, often humorously and light-heartedly. 10. This is a type of drama that originated in Spain.
YOUR FINAL TASK
INSTRUCTIONS: Using a Venn diagram, compare and contrast the various literary genres of the earlier periods and the 21st century Philippine literature. Focus on their themes, elements and styles.
LESSON LITERARY, BIOGRAPHICAL,
LINGUISTIC, AND 4 SOCIOCULTURAL CONTEXTS
YOUR GOALS At the end of this lesson, the learners are expected to:
1. Analyze select literary works by writers from Visayas and Mindanao;
2. Identify the context of a given literary text; 3. Relate the context of a literary text to its meaning; and 4. Situate or place the literary text in the context of the region where the writer is from and of the nation.
YOUR DISCOVERY 4.1
A. LITERARY TEXT
Literary text is a piece of written material, such as a book or poem that has the purpose of telling a story or entertaining, as in a fictional novel. Context anything beyond the specific words of a literary work that may be relevant to understanding the meaning. Contexts may be economic, social, cultural, historical, literary, biographical, etc. (e.g. the political context of the rule of Elizabeth and James, the religious context of Calivinism, the social context of homosexual relations and cross-dressing and the literary context of Renaissance literature, for example, all have significant implications for understanding the words of Shakespeare). As a reader, why do you have to make sense of the context of a literary work? How is each literary work representative of the region where the writer is from and of the nation.
29 Merlie M. Alunan was born in Dingle, Iloilo and graduated with a Creative Writing degree from Siliman University. She is Professor Emeritus at the University of the Philippines and promotes writing in the mother tongue. Her poems are in English, Cebuano, and Waray. At present, she resides in Tacloban City.
Literary Text #1
Old Women in Our Village (An Excerpt)
by Merlie M. Alunan
Old women in my village say Only the old women hear great ships laden with cargo, the sea is always hungry, they say, the ceaseless warning, watching and still unsated, they say, that’s why it comes without fail the grain drying in the sun, suck up cities towns villages— to lick the edges of the barrier sand, or tending the boiling pot one huge swallow to slake its hunger. rolling through rafts of mangrove, or gutting a fish for the fire, fingers As to when or how it would happen, smashing its salt-steeped flood bloody, clothes stained, scent of the who knows, the women say, but this on guardian cliffs, breaking itself ocean much against rock faces, landlocks, hills, rising from the mangled flesh into is true—no plea for kindness can stop reaching through to fields, forests, their lungs. it— grazelands, villages by the water, nodding their heads this way and country lanes, towns, cities where Nudging the old men beside them, that, people walk about in a dream, their mates—empty-eyed seafarer, tuning their ears to the endless deaf to the wind shushing each a survivor of storms, high mumbling . . . . the sea’s sibilant sighing waves, someday we come we come we someday we come and the sea’s vast loneliness, come someday we come now half-lost in their old age someday we come we come we someday . . . . amid the household clutter— come old women in my village someday someday someday Nights, as they sit on their mats nod to themselves and say, rubbing their knees, waiting for ease one uncharted day, the sea (Reproduced by permission of Prof. to come, and sleep, they hear the sea will open its mouth and drink in Merlie M. Alunan) endlessly muttering as in a dream a child playing on the sand, someday someday someday . . . a fisherman with his nets,
Explanation: The imagery in “Old Women in Our Village” (2012) is heightened through the use of sound devices. For instance, the cacophony in the first stanza implies strong feelings, like in the line “against rock faces, landlocks, hills.” Then euphony in the next stanza evokes pleasant feelings as in the line “the sea’s sibilant sighing.” This suggests an impending disaster, which is echoed in the rest of the poem.
Gutierrez Mangansakan II, an advocate of the Moro culture, is a filmmaker and writer from Pagalungan, Maguindanao. In 2001, his film House under the Crescent Moon won the grand prize for video documentary from the Cultural Center of the Philippines Prize for Independent Film and Video. Since then, he has made films that focus on the plight of women and children. Also, he was the editor of Children of the Ever-Changing Moon (2007), a collection of essays by young Moro writers. He became a fellow at the University of Iowa’s International Program in 2008. Mangansakan wrote a short story entitled “A Harvest of Sorrows” for the collection Peace Mindanao edited by Jaime An Lim, a multi-awarded writer, it is also published by UST Publishing House in 2013. The story features a narrator whose experience mirrors Mangansakan’s experience in relief work. For him, the issue and images of refugees and displacement have always been a consistent element in both his films and writing.
Literary Text #2 A Harvest of Sorrows by Gutierrez Mangansakan II
“A Harvest of Sorrows” begins with the narrator’s arrival at an evacuation center
at 9 AM in a remote village in Mindanao. He has come to give away several sacks of rice to the refugees in the center. The refugees have fled their homes because fighting broke out in their villages. At the center he meets his friend Ayesha, the social worker who is in charge of supervising relief operations. Ayesha tells him that a woman in the center gave birth to a stillborn child, and the father does not know it yet. The father, together with the other men, has gone back to the village to guard the rice fields, where crops are ready for harvest in ten days. Later, while the narrator and Ayesha are 30 having coffee, the latter announces that the father will be sent for and that the child will be buried after the noon prayer.
Important Points Each writer in the lesson tackles a theme that situates his or her work in a context specific to the region. Merlie Alunan’s poem “Old Women in Our Village” depicts sea, an important part of life of the Visayans, as an agent of destruction and death. On the other hand, Gutierrez Mangansakan II’s short story “A Harvest of Sorrows” highlights the plight of refugees from war. Context – This is the background of the text which may have been influenced by the author’s life, language, society, and culture. Imagery – This language awakens the reader’s sensory perceptions through words and phrases. Cacophony – This sound device refers to words or phrases with harsh sounds that create a disturbing tone. Euphony – This sound device refers to words or phrases with melodic sounds that create a calming tone
YOUR DISCOVERY 4.2
B. LITERARY READING THROUGH A BIOGRAPHICAL CONTEXT
Biographical Context places a particular literary work within the context of the author’s life. Consider the circumstances under which the literary work was written. While exploring biographical context, useful sources include biographies of the author, autobiographies or memoirs by the author or by people who knew him or her, and critical works that give close attention to the author’s life. In analyzing a text based on its biographical context, you should consider not only how the factors mentioned earlier have caused an impact to the author, but also how these factors were reflected in, and have helped shape, his or her work(s). It is important to take into consideration the literary background of the author. You must research about who and which the author reads as these may have also influenced him or her and his or her work(s).
Example: ABNKKBSNPLAko by Bob Ong
ABNKKBSNPLAKo is an autobiography detailing author Bob Ong’s school days, from his experiences on his first day of primary school to his disastrous university experience and culminating with his entry into the education sector himself, as a teacher. The book is written in Tagalog, the language of the Philippine Islands. The autobiography’s long title is meant to be read phonetically, as “Aba, nakakabasa na pala ako?!” which when translated to English means, “Wow, I can actually read now?!” Bob Ong is Filipino, but the name is a pseudonym and his true identity is unconfirmed, though several contemporary Filipino authors have been proposed.
YOUR DISCOVERY TASK
A. INSTRUCTION: Read the following statements. Write the letter of the correct answer on your answer sheet.
1. What do you call a term which means goes beyond words in understanding the meaning of a literary text? a. context b. biographical c. linguistic d. socio-cultural 2. The following are importance of context except a. give information b. provide new concepts c. provide words d. highlight important words 3. Which factor does not influence by context? a. author’s life b. language c. society c. concept 4. In biographical context, what is being looked into in understanding the literary texts? a. life of the author b. language used c. culture portrayed c. society where he belonged 5. What do you call a piece of material that has a purpose of telling a story or entertaining? a. literary text b. story c. novel d. drama
B. INSTRUCTION: Answer the following questions.
1. What is a biographical context? 2. What are different types of context? 3. What is a literary text? 31 4. Why do we need to consider the background of the author in understanding the meaning of a literary text? 5. What factors are to be looked into in using biographical context in understanding the meaning of a text?
YOUR DISCOVERY 4.3
C. LITERARY READING THROUGH A LINGUISTIC CONTEXT Linguistic context is discourse that surrounds a language unit and helps to determine its interpretation.
Literary Text #1 Puppy Love (Excerpt) F. Sionil Jose We returned close to midnight from the district competition in a fleet of caretelas and parted in the school- house where we lift the odds and ends we used, the athletes their athletic equipment. We won in the dance competition. I walked Gina to her house. February and the cool night had a full moon sailing in the sky. I was hungry and so was she; we meet a few townspeople on their way from the movie house and they asked us how we fared. “We won! We won!” Gina gushed. I wanted to stay with Gina but upon approaching their house, all lights were on. They had some guests and I was too shy to go although I doubted very much if there was any food in our house.
Explanation: “Puppy Love” by F. Sionil Jose is a story of love, tragedy, revelation and hope. The story is culled from Filipino life, it uses simple words, figures of speech (e.g., “full moon sailing in the sky”) and sensory images. The author knows how to play with the language where the readers can visualize the subject, characters or settings in that way, they can understand its underlying meaning.
Literary Text #2 "Lyric 17" by Jose Garcia-Villa First, a poem must be magical, Then musical as a sea-gull. It must be able to hear It must be a brightness moving The luminance of dove and deer. And hold secret a bird's flowering. It must be able to hide It must be slender as a bell, What it seeks, like a bride. And it must hold fire as well. And over all I would like to hover It must have the wisdom of bows God, smiling from the poem's cover. And it must kneel like a rose.
Explanation: • The interpretation of the poem “Lyric 17” by Jose Garcia Villa surrounds language unit that helps effectively determine the meaning of the text. • This poem is about what qualities make poetry good. • The author in my opinion is trying to convey the right qualities that are required in a poem to make it satisfactory. • I think the poem feels passionate towards poem writing as can be seen through how instead of merely writing an instruction sheet on how to write a good poem" he instead writes a poem about good poems. • What more, the language he uses is fanciful and the metaphors and rhyming couplets indicates the thought put behind his work. • In the poem, the term “musical as a seagull” may indicate that the poem should be a rarity and something unheard of; “a diamond in the rough" very much alike how one has never heard of a musical seagull. The poem similarly should also be fluent. • Meanwhile "brightness moving” may indicate how poems should not be dark" it should be optimistic and pleasant and should not be constant" rather captivating and intriguing to one’s reader. • The phrase “holds secret a bird’s flowering” is a metaphor that indicates towards the hatching of a bird young from an egg. This represents showing a new perspective to the reader and how the poem should inspire its audience to think and not merely be able to and its meaning from merely reading it. • “Fire as well” represents wit and brain in a poem that makes a poem interesting and not dull. • “Slender as a bell” refers to how bells have multiple sizes • “Wisdom of bows” has multiple meanings such as firstly, the tradition of bowing; secondly, archery, and lastly, ribbon tying. • All things that are in different areas and hold symbolisms such as bowing being a form of respect, archery being a skill that can be used as a form of leisure or someone’s livelihood and bows something for aesthetic purposes. • “Kneel like a rose” indicates humility in beauty and strength. While a rose is beautiful it has unseen strength in thorns and kneeling indicates submission thus subsequently referring to humility. 32 • Meanwhile, "must be able to hear” shows that the poem must be sensitive and be able to sense its reader while guiding and appeal to its audience with more than visual imagery. • “Luminance of dove and deer” possible gives references to the how a deer symbolizes gentleness and the dove purity. • “Must be able to hide" and “seeks like a bride” brings attention how while the poems meaning should not be in clear vision, it should not be completely obscured to the point it is lost as well as indicating that it should draw the audience attention like how the bride seeks attention on special day. • “And over God smiling from the poem’s cover” shows that the writer of the poem would be the God of the poem and has free rule over the poem instead of something obstructing his ability to create freely. Throughout the poem, the word (must) is used eight times. This shows the writer’s compulsion as to how strongly he feels that all writers should follow the guidelines above in poem writing. • If you are writing a poem or any genre of literature because you want to capture a feeling that you experienced, maximize your creativity especially on the use of language. The use of beautiful language in the text determines the effective and correct meaning of the expression.
YOUR DISCOVERY 4.4
D. LITERARY READING THROUGH A SOCIO-CULTURAL CONTEXT
Sociocultural context is evident when literary works respond in some way to the society in which they were written, and most often (though not always) that response takes the form of criticism. Sociocultural context is about how a particular literary work depicts society. Sources you might investigate include works (books and articles) of history or sociology that talk about the strengths, weaknesses, and changes occurring in the society during the period in which the literary work is set, and critical works that emphasize the connection between the society and the literary work.
Literary Text #1 ABNKKBSNPLAko Bob Ong
ABNKKBSNPLAko depicts the Filipino culture and, although in a humorous way, reveals the social realities and issues that remain present up until now namely education, economy, and corruption up until personal struggles. The author also leaves audiences with advice regarding life and school in general.
Literary Text #2 Ben Singkol F. Sionil Jose Ben Singkol is a 2001 novel written by Filipino National Artist F. Sionil José. It is about Benjamin "Ben" Singkol, who is described as “perhaps the most interesting character” created by the author. Based on José's novel, Singkol is a renowned novelist who wrote the book entitled "Pain", an autobiography written during the Japanese occupation of the Philippines. Through the fictional novel Singkol recalled the hardships experienced by the Filipinos during the occupation. Singkol was described to be a coward, a "supot" or an uncircumcised man who did not only run away from such a “ritual of manhood” but also evaded his “foxhole in Bataan when the Japanese soldiers were closing in”. Singkol was a “runner” or “evader” throughout much of his lifetime, while being haunted by the “poverty of his boyhood” and of the “treachery that he may have committed” in the past. In 1982, Singkol began receiving letters from a Japanese named Haruko Kitamura.
YOUR DISCOVERY TASK
INSTRUCTIONS: On your answer sheet, answer the following questions.
1. What is linguistic context?
2. What is a socio-cultural context? 3. What is the concern of linguistic context? 4. Why do you need to consider the society in understanding the literary text? 5. Why do writers need to use simple language?
YOUR FINAL TASK
Research and read a short story from Philippine Literature. Identify the context present in the story. Do it by formulating a two-paragraph essay. Write it on a long-sized bond paper.
END OF QUARTER 3 See you at the top. God bless you! 33
