ANALYSIS ABOUT GAPO AND DEKADA ’70 BY LUALHATI BAUTISTA

CARY MAE S. ABUKE

HUMSS 12- BL. GRATIA
MS. PRINCESS MARIA MAE CYRILL LISETTE ISONZA
II. ABOUT THE WRITER :

Lualhati Torres Bautista (born December 2, 1945) is one of the foremost Filipino
female novelists in the history of contemporary Philippine literature. Her novels include Dekada
'70, Bata, Bata, Pa'no Ka Ginawa?, and ‘GAPÔ.

BIOGRAPHY
Bautista was born in Tondo , Manila, Philippines on December 2, 1945, to Esteban Bautista and
Gloria Torres. She graduated from Emilio Jacinto Elementary School in 1958, and from Torres
High School in 1962. She was a journalism student at the Lyceum of the Philippines, but
dropped out because she had always wanted to be a writer and schoolwork was taking too much
time.[citation needed] Her first short story, "Katugon ng Damdamin,"[1] was published in Liwayway
Magazine and thus started her writing career.[2]

Despite a lack of formal training, Bautista as a writer became known for her honest realism,
courageous exploration of Philippine women's issues, and compelling female protagonists who
confront difficult situations at home and in the workplace with uncommon grit and strength.

WORKS AS NOVELISTS
Bautista garnered several Palanca Awards (1980, 1983 and 1984) for her novels ‘GAPÔ, Dekada
'70 and Bata, Bata… Pa’no Ka Ginawa?, which exposed injustices and chronicled women's
activism during the Marcos era.

‘GAPÔ, the Palanca Awards 1980 grand prize winner, published in 1992, is the story of a man
coming to grips with life as an Amerasian. It is a multi-layered scrutiny of the politics behind US
bases in the Philippines, seen from the point of view of ordinary citizens living in Olongapo City.

Dekada '70 is the story of a family caught in the middle of the tumultuous decade of the 1970s. It
details how a middle-class family struggled and faced the changes that empowered Filipinos to
rise against the Marcos government. These events happened after the bombing of Plaza Miranda,
the suspension of the writ of habeas corpus, the proclamation of martial law and the random
arrests of political prisoners. The oppressive nature of the Marcos regime, which made the
people become more radical, and the shaping of the decade were all witnessed by the female
protagonist, Amanda Bartolome, the mother of five boys.

Bata, Bata… Pa'no Ka Ginawa?, literally, "Child, Child… How Were You Made?", narrates the
life of Lea, a working mother and a social activist, who has two children. In the end, all three,
and especially Lea, have to confront Philippine society’s view of single motherhood. The novel
deals with the questions of how it is to be a mother, and how a mother executes this role through
modern-day concepts of parenthood.

Bautista's 2013 book In Sisterhood received the Filipino Readers' Choice Award Nominee for
Fiction in Filipino/Taglish in 2014, organized by the Filipino Book Bloggers Group.[3]

In 2015, Bautista launched the book Sixty in the City, about the life of friends Guia, Roda and
Menang, who are in their mid-60s and realize that there's a good life in being just a wife, mother
and homemaker.

SHORT STORIES
Two of Bautista's short stories won the Palanca Awards, namely "Tatlong Kwento ng Buhay ni
Juan Candelabra" (Three Stories in the Life of Juan Candelabra), first prize, 1982; and "Buwan,
Buwan, Hulugan mo Ako ng Sundang" (Moon, Moon, Drop Me a dagger), third prize, 1983.

In 1991 Bautista with Cacho Publishing House, published a compilation of short stories
entitled Buwan, Buwan, Hulugan Mo Ako ng Sundang: Dalawang Dekada ng Maiikling
Kuwento.

A SCREENWRITER
Bautista's venture as a screenwriter produced several critically acclaimed works. Her first
screenplay was Sakada (Seasonal Sugarcane Workers), 1976, which exposed the plight of
Filipino peasants. Her second film was Kung Mahawi Man ang Ulap in 1984, which was
nominated for awards in the Film Academy of the Philippines. Also written during the same year
was Bulaklak ng City Jail, based on her novel about imprisoned women, which won almost all
awards for that year from various awards guilds including Star Awards and Metro Manila Film
Festival. In 1998 her work was used for Chito Rono's film adaptation of Bata Bata Paano Ka
Ginawa, starring Vilma Santos. In 2000 she wrote Gusto Ko Nang Lumigaya, the screenplay for
Maryo J Delos Reyes' political drama thriller.
Books

 Bulaklak sa City Jail

 Dekada '70
 Bata, Bata… Pa’no Ka Ginawa?
 ‘GAPÔ
 Sixty in the City
 In Sisterhood
 Sonata
 Hinugot sa Tadyang (non-fiction)
 Buwan, Buwan, Hulugan Mo Ako ng Sundang: Dalawang Dekada ng Maiikling Kuwento
 Desaparesidos

Novelettes

 Sila At Ang Gabi: Isang Buong Laot at Kalahati ng Daigdig (1994) ISBN 9712703290
 Ang Babae sa Basag na Salamin (1994) ISBN 9716850328
 Araw ng mga Puso ISBN 971685014X
 Apat Na screenplay ISBN 9712704475
 Ang Kabilang Panig ng Bakod
 Hugot sa Sinapupunan
 Desisyon
 Sumakay tayo sa buwan

Screenplays

 Sakada (co-writer)
 Kung Mahawi Man ang Ulap
 Bulaklak sa City Jail
 Kadenang Bulaklak
 The Maricris Sioson Story
 Nena
 Bata, Bata...Pa'no Ka Ginawa?: The Screenplay
 Dekada '70
 Gusto Ko Nang Lumigaya (screenplay)
 Sex Object
 Isang Kabanata sa Libro ng Buhay ni Leilani Cruzaldo (television drama)

Teleplays

 Dear Teacher (co-writer)

 Daga sa Timba ng Tubig
 Mama
 Pira-pirasong Pangarap
 Balintataw (Episode title: "Labinlimang Taon"; 1987)
 Desaparesidos (1998)

III. SUMMARY OF THE STORY

A)SUMMARY OF THE STORY GAPO:

Michael Taylor Jr. is a twenty year old folk singer in a bar named freedom pad. He was the son
of an American soldier whom he had never seen or known. He was angry with the Americans
because his father had left his mother and his children outside to be made fun of by others. He
was even more angry when he witnessed the taunts of the American soldiers to his friends.
Dolores, his mother adopted him and grew up with him.
Magda was an avid fan of American soldiers despite the pain she suffered because of them.
Michael is best friends with Modesto and Ali. Modesto was a military worker in the military
base. Turn it over to his employer. He had no american friends there except William Smith. He
just quit his job because he earns a lot of money here. Ali, in turn, was a scoundrel. And they met
Modesto. He became the girlfriend of an American soldier, Richard Halloway.
One day, Modesto could no longer endure the oppression of the American soldiers at the military
base. He contacted an officer there and got out of the melee. Modesto would have been alone
when he was assisted by colleagues of a white soldier. Despite William's restraint and
supplication, they killed Modesto.
Ali was robbed by Nina Richard and Ignacio was also beaten.
Magda had a new bride named Steve Taylor. At first Steve was very kind until he became
pregnant. Michael was about to meet a soldier on a canoe when they discovered that he had a
family back in the United States.

Her memories of her mother, as well as Nina Ali and Modesto's memories, are still alive. Once
again the US soldiers cheated on Magda. Michael hit Steve in the head with his guitar that killed
Steve. Michael was trapped.
In the latter part of the story, Magda visits Michael in jail. She announced her son's name to
Michael. The boy will be Michael Taylor III. Holding their hands tightly on both sides of the
railing.

B)SUMMARY OF THE STORY DEKADA ’70:

In the 70’s, the Republic of the Philippines was suffering under the midst of then- President
Ferdinand Marcos’ reign as ruler. It was in September 21st, 1972, that he chained close whatever
inkling of democracy the Filipinos had by declaring Martial Law. Unfortunately, it was a rule of
a a twisted sort: the nation would be under the rule of the Armed Forces, but contrary to its
definition, Marcos’ Martial Law kept himself in power. Dekada ’70 (Translated into English, the
70’s decade) is a bittersweet tale of love in the face of hate, hope in the face oppression, and new
life n the midst of death.

It is a novel of a mother, her examination of her oft- unappreciated role in modern society, and
how she struggles to find for herself a sense of purpose and identity while suffering through the
very pit of the nation’s disintegration. It is a novel of a mother and her family, how society
around her affects her family.

It is a tale of she becomes torn between the letter of the law or her responsibility as a mother.
Dekada ’70 tells of how under hate, greed and corruption, one normal person transcends beyond
right and wrong: instead learns that it is freedom that entails survival.
Set in the 70’s, urban Metro Manila, Amanda Bartolome is a middle-class mother of five young
men. Amanda acts as a supposed symbolism of detachment. First of all, she was a mother, a
housewife; such were not considered integral parts of society during those times. She was not the
breadwinner; she did not experience the foremost effects of the decline of the Philippines
economy back then. She was a member of the middle class; her family did not take money, like
the rich, nor did her family suffer the worst of the financial crises, like the poor.

The lives of Amanda’s children each went in different directions in the story, and each varied.
Her eldest son was Jules. Jules grew up normally, similar to every other ideal family. His
upbringing was that of what ideally conformed to normal standards and circumstances. Being the
eldest, however, Jules lived, and more importantly, matured through the shock caused by the
declaration of President Marcos’ martial law. Thus, Jules lived his adolescence exposed to
rebellious reading material, and inevitably molded his mind into that of guerilla.

Jules grew up to become a member of the communist New People’s Army, and his evolution
came full circle. Amanda and the father, Julian, had suspicions of their son’s inclination to
become an anti-Government winger when they found copies of rebellious pamphlets lying
around the house. It was when they confronted their son with it that he told them of his decision.
At first, the conflict that had arisen was unbearable. But eventually, as parents, they grew to
accept their son, and became proud of him.

In fact, their home became a constant lace of recreation for Jules, and more often than not he
would come by with a friend. The friend of Jules whom Amanda had become the fondest of was
Doming. Doming stayed with their family for quite a while, because he was recuperating from an
injury. The family became close to the young man because, among other things, he reminded
them of their son Jules. But, it was all too late when they realized that Doming was an operative
of the government all this time. He exposed Jules. His friendship was all a front. Jules was
subsequently sent to prison.

Possibly the most successful of the children was Isagani, their second child. With Jules becoming
a fondly called him. Gani then grew up to become a sailor, and became the family’s cream of the
crop. Gani, however, quickly became the goat of the family because he had made the simplest
mistake of getting a girl, his girlfriend Evelyn, pregnant. Naturally, being a Catholic country, the
parents insisted on marriage. Alas, their lives were nothing but hollow imitations of couples in
love, without enough of the very essence that keeps two people together.
Their separation was inevitable; Gani never lived the shame down. Ironically, it was the third
Bartolome offspring that provided himself with the most secure future. Emmanuel lived the same
life as his elder brothers, but knew that the extreme left and the extreme right had no place in
society. He called for peaceful evolution, change in the form of expression. He wanted to
become a writer, a noble profession, one exceptionally crafted for someone of Emmanuel’s
ability. His problem was, his father violently objected to his son’s decision, due to practical
reasons.

There is no good pay for a writer. Jason was Julian’s favorite among his children. He was also
the opposite of Emmanuel. While Emmanuel was studious and hardworking, Jason was a typical
teenager. He Joined rallies to make noise, not express a message. He was a constant failure in
school, albeit his problems were self-inflicted. He stole from his parents. He lied to them.
However, in the midst of the first three brothers’ hardships, it was Jason’s happy-go- lucky
demeanor that provided Amanda and Julian with a well-needed dose of happiness.

Unfortunately, in the end, it was Jason’s felonious tendencies that caused hm his life; it wasn’t
his fault, but he was out with his usual round of pecadillos that the police accidentally killed
Jason. Sometime before he was sent to prison, Jules himself met a girl he wanted to marry. And
unlike Gani, he truly loved this woman, Marah, and also got her pregnant. While in prison, he
married Marah, and so there was the first addition to their family. The youngest son was
Benjamin. After all had come to pass, he was in the middle of his teens.

IV. ANALYSIS
~GAPO~
a) Realism- The purpose of literature is to present the experiences and experiences of the author
in his society. Therefore, literature is derived from real life but is not necessarily true because the
author considers the artistry and effectiveness of his writing.
*In the preface of the author Lualhati Bautista, she shared his experience of her stay in
Olonggapo with two sisters Marie and Lumen and cousin Carding. On their way to a bar there
they talk with Carding's other colleagues at the Base about some secret and bitter facts inside or
outside the Olonggapo. Here, it is evident that the Gapo novel is revived by that experience.
b) Feminism - The aim of the literature is to introduce women's strengths and capabilities and to
lift society's view of women. It is easy to determine whether a literature is feminism because it is
the female or female symbol of the main character and conveys the good and the good qualities
of the character.
*The author is a woman and one of the main female characters is Magdalena . Lualhati has
shown us that women like Magda have dreams of life too, with dignity that is often ignored just
for the sake of comfort. At the end of the novel it is proven that Magda is a loving woman in life
'because she chose not to have the baby in her womb. Instead of bringing her back to life with
Mike, she is willing to learn and her supportive care for Jeffrey proves this while Ali is still in
the hospital.
c)Marxism- Magdalena has the capacity to rise above the suffering caused by ecological poverty,
social problems or Struggles in life and one of it is abortion. She changed her life after She got
free outside the jail. Magda is a Prostitute or one of the victims of prostitution and it is all
because of the poverty and lack of having money .

~DEKADA ‘70~
a)Realism - The purpose of literature is to present the experiences and experiences of the author
in his society. Therefore, literature is derived from real life but is not necessarily true because the
author considers the artistry and effectiveness of his writing.
b) Feminism - The purpose of the literature is to introduce women's strengths and capabilities
and to lift society's view of women. It is easy to determine whether a literature is feminism
because it is the female or female symbol of the main character and conveys the good and the
good qualities of the character like being a strong mother despite of all the struggles that she was
facing.
c) Marxism - The purpose of this is to show that the human, symbolic person or Amanda has the
capacity to rise above the suffering caused by ecological poverty, social and political problems
or Struggles under Martial Law’s Regime or under Marco’s Regime. The ways of surviving from
prostrate serve as a model for readers.

V. REFERENCES/CITATION (APA)
~ Dekada 70 Summary. (2017, May 16). Retrieved October 12, 2019, from
https://newyorkessays.com/essay-dekada-70-summary/
~Wikipedia contributors. (2019, September 24). Lualhati Bautista. In Wikipedia, The Free
Encyclopedia. Retrieved 15:13, October 12, 2019,
from https://en.wikipedia.org/w/index.php?title=Lualhati_Bautista&oldid=917524447
~Answers.com. (2011). Summary ng Gapo ni Lualhati Bautista - Answers. [online] Available at:
https://www.answers.com/Q/Summary_ng_Gapo_ni_Lualhati_Bautista [Accessed 13 Sep.
2011].