21st Century Literature from The Philippines And the World

LEARNING GUIDE 1: INTRODUCTION TO PHILIPPINE LITERATURE

Lesson 1: INTRODUCTION TO PHILIPPINE LITERATURE

What is Literature?

Literature came from the Latin word ‘ litteratura’ or 'littera' (meaning letter), which means writing formed with letters (definition from
Oxford English Dictionary and Ancient History Encyclopedia, 2009). It is anything that is printed (definition from Webster Dictionary),
thus covers all the types of writing that we read or write. But in an English class, “it refers to written expressions with artistic merit and
universal interest” (Janovsky, 2020) – whether based from facts or a product of imagination, and "a force that motivates society"
(Salazar, 1995).

There are two types of literature (based on Thomas De Quincey’s concept):

1.    literature of knowledge  that is didactic or informative (scientific literature, literature for the piano, and promotional literature), and
the

2.    literature of power  that depicts passions and feelings (poetry, fiction, and drama). This concept clearly draws a line between the
creation of literary work as an art and occupation (or work concerned with a particular focus). Apparently, literature is commonly known
as an art, and this has been a subject of study for it offers more than the situations and characters in the literary works.

What makes literature significant?

Here are the Universal Characteristics of Literature:

Timelessness.  Literature has no expiration and has the immortality and capability to cross time boundaries, and it is transformative or
can be applied to different contexts and situations.

Eternity.  Literature is appealing, and it can give lasting impressions and moral values towards its audience.

Universality.  Literature has a global applicability. Though these literary works were written and made in different localities, the works can
transcend across culture, gender, religion, age, time and generation.

Permanence.  Literature is a permanent expression; once told or written, it will never be forgotten.

Why do we need to study Literature?

Here are several reasons:

1.        Literature is a mirror of life.

2.        Literature serves as an expression of ideas and feelings.

3.        Literature enlarges the reader's world to reality.

4.        Literature is a means of preserving the culture and appreciating literary heritage.       
Lesson 2: THE HISTORICAL BACKGROUND OF THE PHILIPPINE LITERATURE

In the previous lesson, we ‘ve learned the different definitions, types, and characteristics of literature. You also got to know the reasons
on studying and reading literature, which led on knowing that there’s a big relationship between Literature and History. Now, let’s
recognize the influences of the different historical periods in Philippine Literature, and appreciate some of the noted literary forms and
works in it.

The Pre-colonial Period

The history of the Philippines is believed to have begun at least 709,000 years ago as seen in the discovered remains (Ingicco et. al,
2018). Negrito groups were the first inhabitants to settle, and groups of Austronesians later migrated. Their remains were mostly located
near rivers and seas, and scholars believed that they had a rich past with influences from the Southeast Asian neighbours.

Since the writing system was not yet established in this period, most of the certain occurrences were weaved orally and passed down
through the chanters (they were taught by their ancestors and considered "treasures" or repositories of wisdom in their communities).
They shared stories about everything- and words of wisdom to guide the people in their community.

To recognize the country's rich past and wealth on ethnic traditions, here are the literary forms that were passed on:

1. Folk Speeches are words of mouth or wisdom that help early Filipinos in surviving local life.

2.    Proverbs (salawikain) or aphorisms are practical observations, codes of behavior, philosophy of life, and community beliefs that are
written usually in a rhyming scheme (rhyming scheme is the pattern of rhyme at the end of each verse
or line in poetry). It is meant to entertain while teaching basic skills in surviving local life.

Example: Kung walang tiyaga, walang nilaga. (If you don't persevere, you can expect no reward.)

3. Riddles (a tigmo in Cebuano, bugtong in Tagalog, paktakon in Ilongo and patototdon in Bicol) are like proverbs with one main
difference: they demand an answer and are used to test the wits of those who are listening to them. It is also a talinghaga or metaphor–
for it "reveals subtle resemblances between two unlike objects". And these were often used in a battle of wits to test and see the
smartest.

Example: Sa araw ay bungbong, sa gabi ay dahon. (Roll in the morning, leaf in the afternoon.)

Answer: Banig or a handwoven mat usually used in the Philippines for sleeping and sitting

4.Tanaga is the extended form of proverbs, and usually, a mono-rhyming heptasyllabic quatrain (consists of seven syllables per line, a
stanza having four lines, and with the same pattern of rhyme at the end of each verse or line) expressing insights and lessons on life. It is
"more emotionally charged than the terse proverb and thus has affinities with the folk lyric". Some examples are the basahanon or
extended didactic (moralistic) sayings from Bukidnon and the daraida and daragilon from Panay.

This is also considered as the Filipino equivalent of a Japanese haiku, and it may vary in terms of rhyme scheme: the basic or AAAA
rhyme scheme; the enclosed or ABBA rhyme scheme (known as inipit in Filipino); the alternate or ABAB rhyme scheme (known as salitan
in Filipino); and the AABB rhyme scheme (also known as sunuran in Filipino).

Example: Palay (Rice Plant) by Ildefonso Santos

Palay siyang matino,

Nang humangi'y yumuko;

Ngunit muling tumayo

Nagkabunga ng ginto.
 

(O truly straight, you rice plant

Once blown by strong wind aslant;

But right after, can still stand

Yields something gold and pleasant)

5. Folk Songs (awiting-bayan) are music attributed to the people of a certain place, nationality, or location, and the actual composer is
usually unknown. These are often used to express hopes and aspirations, and people's lifestyles as well as their loves. In terms of
construction, these are repetitive and sonorous; and didactic and naïve.

 6. Lullaby (oyayi) is a song for rocking the baby to sleep.

 Examples: Ili-Ili Tulog Anay and Pamuwa sa Bata

7. Courting song (Bansal) is a song intended to serenade a girl (harana).

Example:   Pamulinawen (an Ilocano song)

 8. Love song (kundiman) is a song for showing parental or romantic love.

 Example: Si Nanay, Si Tatay di co Babayaan

9. Folk Narratives are stories handed down from the remote past by words of mouth from one generation to another, reflecting the
people's tradition, feelings, beliefs, and judgments.

10. Myths (mito) focus on the actions of the gods, heroes' exploits, or the elements of nature's origins.

 Example: Bathala and Sinta

11. Legends (alamat) explain the origins of things. These are widely told stories about the past, and considered factual by those who tell
them. Many of these have some basis in historical fact and include elements of magic and supernatural.

 Example: The Legend of Rice (Ang Alamat ng Palay)

12. Fables (pabula) are about animals, and these teach moral lessons.
Example: Ang Agila at ang Pagong (The Eagle and the Turtle)

13. Epics (guman in Subanon, darangen in Maranao, hudhud in Ifugao, and ulahingan in Manobo) are long narrative poems in elevated
style recounting the deeds of a legendary or historical hero. These embody or validate the beliefs, customs, and ideals of a community,
and early Filipinos also sung or chanted these to the accompaniment of indigenous musical instruments. They also performed these
while dancing during harvests, weddings or funerals.

Examples: Lam-ang (Ilocano) and Hinilawod (Sulod)

These oral works were able to translate into written works through the use of syllabary called alibata (considered as the first Filipino
alphabet), and with the efforts of the colonialists, archaeologists, ethnologists and anthropologists to recognize the rich ethnic traditions
and diverse Philippine literature before the colonization.

The Spanish Colonial Period

Before this pre-colonial literature was recognized, Philippine history was considered to have started in 1521. It was when the island was
discovered by a group of Spanish explorers. Since the Philippines was composed of scattered islands, the absence of centralized power
existed and made these explorers easily secure the control and acquisition of a place. And in 1565, the Spanish colonization officially
began.

While it is true that Spain conquered the Philippine Island and used for its own benefit, this former ruler contributed much in the
shaping and recording of the Philippine literature. Not just in literature, but also in other aspects.

What are the evident influences of the Spaniards on us Filipinos up to these days? According to Alex Balinski (2019), the most common
are the Filipino greeting, “Kumusta”, which was derived from the Spanish “Como esta” (How are you) and the Spanish numbers (uno,
dos, tres, cuatro, cinco...cincuenta, and so forth), which are still used for business and money transactions.

According to historians, Spain had control of the Philippines for more than 300 years, so it’s not surprising that there are a variety of
aspects on the Filipino customs and traditions today that can be traced back to the Spanish. And the major contribution was the spread
of Christianity.

Christian faith was the center of everything in this colonization, that’s why the literature in this period was classified as religious and
secular. Here are the common forms of literature during this period:

1. Poetry has some sort of meter or rhythm (this is the stressed and unstressed syllabic pattern in a verse or within the lines of a poem),
and focuses on the way the syllables, words and phrases sound when put together.

2. Corrido is a poem set in octosyllabic quatrains (consists of eight syllables per line and a stanza of four lines) that details the lives of
saints or the history of a tradition.

Example: Ang Ibong Adarna (Adarna Bird) – about an eponymous magical bird

3. Awit is a chivalric poem set in dodecasyllabic quatrains (consists of twelve syllables per line and a stanza of four lines) that is usually
sung and used in religious processions.

Example: Florante at Laura by Francisco Baltazar (commonly known as Francisco Balagtas) – a story about the love and determination of
Duke Florante and the Princess Laura of Albania

4. Prose is written in complete sentences and organized in paragraphs; and the works in this period were more on didactic literature
(intended to teach) and translations of religious writings.

Example: Pagsusulatan ng Dalawang Binibini na si Urbana at si Feliza na Nagtuturo ng Mabuting Caugalian (Correspondence between
the Two Maidens Urbana and Feliza) or Urbana and Feliza (1855) by Fr. Modesto de Castro – (also known as Book of Etiquette) a novel
about the exchange of letters between two sisters, wherein Urbana’s letter is full of advice.

5. Drama is a text that is meant to be performed rather than read (unless it’s a poem meant to be performed).

6. Komedya or comedy is a play in verse depicting the Christian saints, real events or imaginary kingdoms (Oxford reference, 2020). This
is later called Moro-moro or Comedia de Capa y Espada, for it often depicted the conflict between Christians and Muslims (the battle to
the death and proof of faith).

7. Sarswela or zarzuela is the most famous form of entertainment in the Spanish era, and this is a musical comedy or melodrama that
deals with the elemental passions of human beings. It follows a certain plot: a satirical look at society or a begrudged life.

8. Sainete is a short musical comedy popular during the 18th century. They were exaggerated comedy shown between acts/plays and
were mostly performed by characters from the lower class.

9. Carillo is a play that uses shadows as its main spectacle. This is created by animating figures and projected onto a white screen.
Literature became more interesting and productive when Filipinos’ national consciousness roused. Filipino intellectuals educated in
Europe called ilustrados began to write and formed the Propaganda movement and La Solidaridad (The Solidarity). These lead to the
downfall of the colonization. Here are the literary forms in this period of Nationalistic, Propaganda, and Revolutionary:

1. Propaganda Literature promotes a political viewpoint and intends to influence others. Examples:

Noli Me Tangere  (Touch Me Not) by Dr. Jose Rizal – a political novel that exposes the injustices of Spanish Catholic friars and the ruling
government.

El Filibusterismo  (The Reign of Greed) by Dr. Jose Rizal – a political novel and the sequel to Noli Me Tangere that continues the
exposition of the abuses and corruption of the Spanish government.

Dasalan at Tocsohan by Marcelo H. Del Pilar (popularly known as Plaridel)

– a satire on friars’ hypocrisy.

Political Essays and short fictions published in La Vanguardia, El Debate, Renacimiento Filipino, and Nueva Era (newspapers)

2. Revolutionary Literature promotes political revolution and complete change. Example:

Pag-ibig sa Tinubuang Lupa  (Love of Country) by Andres Bonifacio (Father of the Philippine Revolution) – a poem first published in
Diariong Tagalog to arouse Filipinos’ spirit of nationalism and self-dependence.

The American and Japanese Colonial Periods

 After more than 300 years of Spanish colonization, the Philippines encountered a new colonizer who added to the traditions, religions,
and literature of the country. The colonists forced the Filipinos to adopt Anglo -American modes of culture, belief, and manner of life,
brought Modern short tales and critical essays to them (far from the traditional types), and developed a strong implementation of
English as a medium of teaching. Additionally, when Filipino authors became more aware of their writing, they started to experiment
with various genres: To the dismay of other writers who were more interested in the practical application of literature, the National Artist
for Literature Jose Garcia Villa employed free verse (poetry without a regular rhyme scheme or metrical pattern) and espoused the
maxim "Art for art's sake" (Ortega on ncca.gov.ph). Others imitated the style of storytelling and rigid adherence to the craft of the short
story (as practiced by well-known American fiction writers - Andersons, Sa (Santiago on ncca.gov.ph). And all of them were heavily
affected by Western literary trends like Romanticism, which emphasizes the primacy of the individual and the imagination, as well as
realism, which is a movement in the arts and literature that portrays the very real lives. The Filipino authors explored all genres of
literature during this time, but their nationalism remained unflinching as their writings amply demonstrated their love for the nation and
longing for freedom. Because of the weekly publications like Liwayway, Bisaya, Hiligaynon, and Bannawag, popular writing in the
original languages blossomed despite the fear of repression by the new regime (Ortega on ncca.gov.ph).

Here are the literary forms in this period:

1. Tagalog Novel (A long prose narrative that describes fictional characters and events in the form of a sequential story.)

 Example: Banaag at Sikat by Lope K. Santos (1906) Romantic

 2. Poetry (1901-1946) is the filtering of natural emotion through the human mind to create art and coupled with an awareness of the
duality created by such a process.

 Example: Pag-Ibig by Jose Corazon de Jesus 

 3. Short Stories are brief works of literature and usually written in narrative prose, and can be read in one sitting. Filipinos have taken
this form of literature easily which shows real events.

 Examples: We Filipinos Are Mild Drinkers by Alejandro Roces (1940) and Dead Stars by Paz Marquez Benitez (1920)  -stand out as a
model of perfection in character delineation, local color, plot, and message Kahapon, Ngayon At Bukas (Yesterday, Today and
Tomorrow) Written by Aurelio Tolentino Tanikalang Ginto of Juan Abad Malaya by Thomas Remigio Walang Sugat by Severino Reyes 
Beginning of Philippine Literature in English

 By 1901, public education was institutionalized in the Philippines with English as the primary medium of instruction. That year, around
600 educators in the S.S. Thomas came to replace the soldiers who had been serving as the first teachers.) Example: How My Brother
Leon Brought Home A Wife by Manuel Arguilla - a classic story taught in school Between 1941-1945, Philippine Literature was
interrupted in its development when conquered again by another foreign, neighboring, country, Japan. Publication of Philippine
literature in English was discontinued, except for the newspapers- Tribune and the Philippine Review, Pillars, Free Philippines, and
Filipina. The only contact with the outside world was done with utmost secrecy through the underground radio program called “Voice of
Freedom” or writings in Tagalog. And Filipino writers who could write freely were those living in the United States.

 The Contemporary Period

The Philippines achieved its freedom on July 4, 1946, marking the end of the terror of war. The Philippine flag was proudly waved, and
the people were eager to use their independence. Writings after World War II until the present day that reflect societal social and/or
political viewpoints and present believable characters, connections to current events, and socioeconomic messages are referred to as
Contemporary Literature (Carnevale on Study.com). As a result, contemporary literature began to emerge.

The texts heavily emphasized nationalism, which dominated them. As a result, revolutionary literary genres persisted and thrived in their
critique of societal evils. The different types of literature in the first periods of Contemporary Literature (including the Martial Law
Period):  Protest literature indicates opposition to someone or something during the early stages of contemporary literature (including
the Martial Law Period). Examples of proletarian literature include Jose Y. Dalisay Jr.'s Killing Time in a Warm Place and works by
members of the working class or the lowest social class that discuss their experiences in society, such as being unemployed or working
for little pay. Examples include Manuel Arguilla's book Caps and Lower Case, which was written within or outside of a prison as a means
of escaping the confines of the institution. Circumvention literature, such as A December in Prison by Isagani R. Serrano, is like protest
literature but is partially hidden or concealed, like the underground literature of the Japanese era. Prometheus Unbound, for instance
(published in Focus Magazine)

The comeback of devoted literature in the 1960s and 1970s, which was not only socially committed but also related to gender/ethnicity
and personal matters, contributed to the flowering of Philippine literature in the various languages, according to the Arts Committee
(NCCA). Most of the literature available through mass media (including the internet), the growth of writers' workshops both
domestically and abroad, and several literary awards (including the Don Carlos Palanca Memorial Awards for Literature, the Philippines
Free Press, Philippine Graphic, Home Life, and Panorama literary awards) have also inspired writers to compete with their peers in the
hopes that their work will be recognized.

           
 21st Century Literature from The Philippines And the World
LEARNING GUIDE 2 : THE LITERATURE OF THE PHILIPPINES

Lesson 1: LUZON

Luzon Island is considered as the birthplace of a rich tradition of Philippine culture in language, politics, economy, and literature; and
the most prominent ethno- linguistic groups are Ilocano, Kapampangan, Bicolano, Tagalog, and Pangasinense.

Here are some of the literary forms, representative texts, and notable authors from the regions of Luzon:

NCR (National Capital Region) – Metro Manila, it is made up of the following cities: Manila, Caloocan, Las Piñas, Makati, Malabon,
Mandaluyong, Marikina, Muntinlupa, Navotas, Quezon City, Pasay, Pasig, Parañaque, San Juan, Taguig, Valenzuela, and Pateros.

From the pre-colonial period up to the present, Metro Manila served as the center for everything – settlements, colonial power,
commercial trade, and developments (economic, social, cultural, and financial development). Moreover, it was here in Manila that the
nationalist movement (during the Spanish period) gradually gathered strength and spread; and that even the introduction of the public -
school system (during the American Period) with English as the medium of instruction had started and intensified. No wonder that this
region is so rich in noted literary works, and here are some of these:

Ang Dapat Mabatid ng Mga Tagalog  by Andres Bonifacio – pointing out the continuing oppression of the people by Mother Spain.

Aking Bayan  by Jose Corazon de Jesus – identifies the things that the author recognized as his country’s own, which gave him a sense of
rootedness to his own country; and this became the lyric of a song entitled Bayan Ko (1929).

The Wound and the Scar (1937) by Arturo B. Rotor – is a collection of short stories, which was about the people in the city depicting
their increasing alienation (as a result of modernity and progress), and rendering of human relationships (superficial and mechanical).

A Portrait of the Artist as Filipino (1952) by the National Artist Nick Joaquin

– also known as "A Portrait of the Artist as Filipino: An Elegy in Three Scenes ", which is a literary play written in English and narrated by
the character named Bitoy Camacho recalling 1941, when the country was on the brink of war.

Pinaglahuan  (1907) by Faustino Aguilar - is a novel about Manila being a place of oppression (where Filipinos were exploited by foreign
businessmen and fellow Filipinos).

Even after wars, Filipino writers remain undaunted to express their feelings and observations, and here are some of the contemporary
works:

Sa Mga Kuko ng Liwanag  (In the Claws of Light) by Edgardo Reyes - is like a gripping metaphor of the way the city “swallows up” the
naïve and the weak.

May Buhay sa Looban  by Pedro Daandan - is about slum life, which is a dominant feature of life in Manila.

Region I (Ilocos Region) – Ilocos Norte, Ilocos Sur, La Union, and Pangasinan.

Two of the most prominent ethno-linguistic groups are here in this region: Ilocano and Pangasinense, which made this region rich in
oral literature. In addition, since Ilocos     is far to reach because of mountains separating them from the center of colonial power, Iluko
literature became a witness to the life of people that is linguistically different from the rest of the country – and Leona Florentino
(considered as the mother of Philippine women’s literature and the bridge from oral to literary traditions) became the inspiration of
young writers to see literature as a vehicle for giving a voice to women and showcasing literary traditions.

Here are some of the oral literatures in this region:

1.        Iluko  literature

“Lam-ang” is an epic that has survived colonization and was written down around 1640 by a blind Ilocano bard named Pedro Bukaneg.

Ilokano Myths – more on gods, goddesses, and the anitos (ancestor or nature spirits)

2.        Pangasinense  literature

Pangasinense’s early works of literature are embodied by the following characters: Princess Urduja (mythical warrior), Juan de la Cruz
Palaris (a rebel), and Andres Malong (a rebel)

But when the Americans came, Pangasinense lost their oral traditions: Anlong (poetry) and Tongtong (narratives). Moreover, Parayno
Hermanos Publishing House gave way for the Pangasinan and Iluko Literature to be known.

Region II (Cagayan Valley Region) – Batanes, Cagayan, Isabela, Nueva Vizcaya, and Quirino, and CAR (Cordillera Administrative Region) –
Abra, Apayao, Benguet, Ifugao, Kalinga-Apayao, and Mountain Province

Cagayan Valley Region and Cordillera Administrative Region, like the other regions here in the Northern Luzon, were rich in oral
tradition -and classified into ritualistic and non-ritualistic types. Ritualistic literature – consists of songs, chants, and narratives that can
only be performed or recited in a religious context.

Non-ritualistic literature – consists of secular forms that can be performed on any occasion.

In addition to the Cordillera Literature, two long heroic narratives in verse (epic poetry) originated here, which were preserved and fully
documented: Hudhud  (Ifugao) and Ullalim  (Kalinga).

And here are the other literary forms and pieces in the region:

Songs and Chants

Dongdong-ay  – a song not restricted to any particular function or event

Aa-po  – recorded in Ifugao some fifty years ago; a song expressing lamentation

Dujung  – a chant from Ibaloy; performed in wakes

Myths, Legends and Folk Tales – tells more on the sacred of nature

Proverbs and Riddles

“It is the stomach that gives advice.” – is a Kalinga proverb that indicates how hunger controls human behavior.

“A person, if alone, is afraid of the enemy.” – is another Kalinga proverb that probably a comment on boasters but also a statement on
human independence

Region III (Central Luzon Region) – Bataan, Bulacan, Nueve Ecija, Pampanga, Tarlac, and Zambales

This region is known as the fertile central plains or the rice basket of the Philippines, no wonder that the early literature (riddles, sayings,
folksongs, children’s rhymes, legends, and folktales) reflected the flora, fauna, and the geographic features of the region. This is also one
of the earliest areas converted into Christianity (first in Pampanga, and extended to the other parts of the region); and the two types of
literature that flourished during this period were literature introduced through the Spanish-speaking elites, and literature introduced by
the native-speaking friars.

Since Pampanga Literature is the most flourished in the region, here are the literary forms and pieces (with the authors) in the province:
Ing Bangkero  – is a folk song from Macabebe, Pampanga that takes pot shots at the snobbish practices of the upper class. It satirizes
the irrelevance of abstract knowledge which the returning college student learned in his Manila school.

Don Gonzalo de Cordova  by Padre Anselmo Jorge de Fajardo

American Colonial Period  (considered as the Golden Age of Capampangan  literature)...

Why Should I Sing (1907) – laments the absence of justice and peace with a reference to the conditions of Rizal’s Noli Me Tangere.

Yesterday, Today, and Tomorrow   (1911) – chronicles the life of Mother Philippines from her past happy life, her present enslavement,
and her future liberation.

During the Contemporary Period...

A Life Without Trace (1974) by Jose M. Gallardo - laments the emptiness of his life that would end without a legacy to leave behind.

Malikwatas  by Jose M. Gallardo - considered as a magic poem for the author explored the possibilities of the language and stretched
the language to its limit (each line in his four-line stanzas can be split and rearranged into innumerable stanzas).

Region IV-A (CALABARZON) – Cavite, Laguna, Batangas, Rizal, and Quezon, and Region IV-B (MIMAROPA) – Occidental Mindoro and
Oriental Mindoro, Marinduque, Romblon, and Palawan.

Region IV-A has a rich history. The Philippines’ independence from Spain was first declared here (1898). In addition, the birthplace of
noted persons in the downfall of the colonization is here: Jose Rizal (from Calamba, Laguna), Emilio Aguinaldo (from Kawit, Cavite),
Apolinario Mabini (from Tanauan, Batangas), and Miguel Malvar (from Sto. Tomas, Batangas); and the works of Rizal influenced most of
the writers, which led in national consciousness writings.

Furthermore, like in the literature of Region III, some of the literature here in Region IV (Region IV -A and Region IV-B) reflected the
geographical features of the region; and most of the literary works/pieces focused on Rural Life.

Ang tubig ma’y malalim …  - an early short poem of the Tagalog found in the Vocabulario de la lengua tagala of Juan de Noceda and
Pedro Sanlucar. Written as a quatrain, it likens the errand of fathoming the river’s depth with the precious task of recognizing another
man’s good will.

Soliranin sa Pamamangka  – a boating song singles out the lover’s passion as the one goad that can allow him to span the formidable
distance of deep- sea water.

Sa Tabi ng Dagat  by Ildefonso Santos. He inspires the lovers to frolic and gather the sea’s bounty in clams, oysters, and seashells and
points out, paradoxically, to their sunburned bodies bowing out to the long haul of time, their hearts surrendering to the truth of
mortality during the deepest moment of ecstasy.

Region V (Bicol Region) – Camarines Norte, Camarines Sur, Albay, Catanduanes, Masbate, and Sorsogon

Some of the native literary traditions have been kept in the Bicol Region, and most of these can be found in their living oral traditions
(proverbs, riddles, songs, and folk natives) -which are mostly focused on the majestic Mayon and the occasional temperamental
outbursts that have evoked mixed feelings of fear, awe, and admiration from the Albay residents and visitors (example: The Story of
Daragang Magayon). When the Spaniards came, many saints’ legends, as well as stories about supernatural beings and environmental
spirits, proliferated; and Bikolanos are as superstitious as they are religious. But, only after about two centuries later did the people
begin to write poems and plays adapted from Biblical stories.

Here are the literary forms and pieces (with the authors) in the region:

1.    Humorous stories (example: about the lazy giant Colacog and the bumbling simpleton Juan Osong)

2.    Songs (some of which have been made popular by such noted singers as Carmen Camacho and Nora Aunor)
Katurog na Neneng  – is a typical countryside lullaby, the singer is warning the child that if it does not sleep, the engkanto, in the form
of a blackbird, would carry it away.

DID YOU KNOW?

Most of the National Artists for Literature are born here in Luzon. They are often called as canonical authors   -  for their works reached
the standard measure to be identified as great literary masterpieces; and their works reflect the history and culture of our country that
play an important role in preserving the Filipino values, and inspiring the youth today and the future generations.

Francisco Arcellana (1916-2002; Manila) National Artist for Literature 1990

Amado Hernandez (1903-1970; Manila) National Artist for Literature 1973

Jose Garcia Villa (1908-1997; Manila) National Artist for Literature 1973

Nick Joaquin (1917-2004; Manila) National Artist for Literature 1976

Carlos Quirino (1910-1999, Manila) National Artist for Literature 1997

Cirilo Bautista (1941-2018, Manila) National Artist for Literature 2014

Francisco Sionil Jose (1924-; Pangasinan) National Artist for Literature 2001

Edith L. Tiempo (1919-; Nueva Vizcaya) National Artist for Literature 1990

Virgilio Almario (1944-; Bulacan) National Artist for Literature 2003

Lazaro Francisco (1898-1980; Bataan) National Artist for Literature 2009

Bienvenido Lumbera (1932-; Batangas) National Artist for Literature 2006

L. N. V. M. Gonzales (1915-1999; Romblon) National Artist for Literature 1997

Please watch any online videos about the topic National Art

Lesson 2: VISAYAS

VISAYAS (also known as Visayan group of islands) is located in between the islands of Luzon and Mindanao. Considered as the smallest
in terms of land area but plays an important role in the Philippine History – for when Ferdinand Magellan (a Spanish explorer)
discovered the country during his expedition, he landed in Samar (Valdeavilla, 2018). The island these days widely celebrate religious
traditions as part of cultural events (Dinagyang, Ati-atihan, and Sinulog festivals). Locals use three major languages- Waray,Cebuano
and Hiligaynon.

Here are some of the literary forms, representative texts, and notable authors from the Visayas region:

Region VI (Western Visayas Region) – Iloilo, Antique, Aklan, Capiz, Guimaras and Negros Occidental (part of NIR (Negros Island Region))

This region is dominated by native speakers - and Hiligaynon  is the considered as the mother tongue  of the Western Visayas, but the
mother language is  Kinaray-  a  or Hiraya. Hiligaynon  doesn't only refer to the language, but also the culture of the Ilongo  - people who
inhabit Iloilo, Guimaras, Capiz, and Negros Occidental. Eventually, the term, Ilongo, has come to connote the more formal and literary
language, as it is used in schools and by the older generation of speakers and writers, so Ilongo is now used to refer to a more common
and informal use of the language.
“Panayanon literature” is how they call their literature in this region, which includes written or oral literature, transmitted in the
provinces into which Panay Island is divided: Iloilo, Capiz, Antique, and Aklan. It also includes literature of Negros Occidental and
Guimaras, both of which are on separate islands.

Here are the literary forms and pieces (with some authors) in the region:

Pre-colonial Period

Folk literature

a.    short riddles (paktakon)

b.    proverbs (hurubaton)

c.    ditties

d.    ritual chants

e.    poem (binalaybay)

f.     tales (asoy  or sugilanon)  ; or asoy  may be a legend or a tale about a folk hero or a local happening

g.    extensive epics (examples: Labaw Donggon  and the Hinilawod).

 Folksongs (ili-ili  or lullaby)

a.        ambahan  -  a long song sung by a soloist or in chorus

b.        siday  -  a long poetic battle between two paid poets to respectively represent two families in a marriage suit (siday sa pamalaye)

c.        balitaw  -  a humorous love song sung in an arguing manner by a man and a woman

Spanish Colonial Period

Religious literature: “vidas” (saints’ lives), sermons, dialogues, exempla (moral anecdotes), and gozos (hymns) – these literary forms
contribute to both the didactic and aesthetic impulses of Philippine literature.

Literature of Reform, Revolution, and Patriotism – The native Panayanons conducted these series of small and major rebellions against
the Spanish government culminated in their participation during the Katipunan revolt of 1896.

Graciano Lopez Jaena is a source of great patriotic pride among the Panayanons, he who, despite writing in Spanish during the Reform
and Propaganda period of the 1890s, exemplified the Hiligaynon literary tradition of socio-political consciousness.

Theatre forms - moro-moro and zarzuela

American Colonial Period

Short story – that follows Formalist guidelines like characterization, local color, and irony. Noted authors in this form are:

a.    Nilo P. Pamonag

b.    Lucila V. Hosillos

c.    Mario L. Villaret
d.    Romeo Garganera

e.    Ner E. Jedeliz, Jr.

f.     Quin Baterna

g.        Jose Ali Bedaño - under the name of Julius Flores

Contemporary Period

One of the most significant milestones   in the   history   of Hiligaynon literature is The Cory Revolution of   1986. They formed new
administration in the Cultural Centre of the Philippines and created the Presidential Commission for Culture and the Arts which
eventually became the National Commission for Culture and the Arts – it supported new writings and new artists that have been born.
The CCP and the NCCA have become the people’s patrons of the arts by paving the way for the creation of regional and local art
councils, granting to writers of diverse languages, supporting workshops and publications, and conferring awards. Competitions were
conducted to promote and help in fermenting new writing. Most significant is the inclusion of the Hiligaynon short story, alongside that
of Cebuano and Iluko, in the Palanca Awards since 1997.

The Cory Revolution has also ushered in these historical landmarks in the literature of West Visayas:

a.    The emergence of Kinaray-a writing;

b.    The emergence of Aklanon writing;

c.    The emergence of writing in Filipino which is Visayan-based;

d.    The ferment of a campus writing in these languages;

e.    The emergence of multilingual writing in the region.

Important young writers in West Visayas today include:

Hiligaynon–

a.    Alicia Tan-Gonzales

b.    Peter Solis Nery

c.        Edgar Siscar

Kinaray-a

a.    Ma. Milagros C. Geremia Lanchica

b.    Alex C. de los Santos

c.        John Iremil E. Teodoro

Aklanon–

a.    Melchor F. Cichon

b.    Alexander C. de Juan

c.    John E. Barrios.
All of these writers are either bilingual or multilingual.

Moreover, Western Visayas literature has opened itself to a national readership through the development of Filipino as a national
language and through translations.

(Source:                        https://ncca.gov.ph/about-ncca-3/subcommissions/subcommission-on-the-arts-sca/literary-  arts/hiligaynon-

literature/ (accessed September 6, 2020))

Region VII (Central Visayas Region) – Bohol, Cebu, and Siquijor; and Negros Oriental (part of NIR (Negros Island Region)

Central Visayas Region is also dominated by native speakers - using Cebuano as their mother tongue (not only in Cebu but in Bohol,
Leyte, Negros Oriental, and most parts of Mindanao). Their works of literature refer to as "Cebuano literature" showcases rich oral
tradition that was participative and part of everyday life and every social occasion (for people had the ability to extemporize, and could
draw shared experiences, images, and meanings).

Here are the literary forms and pieces during the pre-colonial period in the region:

Folktales

a.    Legends associated with specific locales, like the Maria Cacao legends of southern Cebu and those of Lapulapu and his father Datu
Manggal of Mactan;

b.    Fable like “Haring Gangis ug Haring Leon“, which warns of abusive behavior by the dominant group.

Many of the tales carry lessons, but just as many suggest, the value of humour, keeping of one’s wit, and resourcefulness are
emphasized, as in the Juan Pusong trickster tales.

c.    Poetry - among the early poetic forms are garay (verses), harito (shaman’s prayers), tigmo (riddles) and panultihon (proverbs) as
described by the Jesuit Francisco Alzina (1668). The generic form for poetry is balak , characterized by the presence   of  enigma  or 
metaphor  called balaybay or sambingay -or tanghaga (a Cebuano version of “talinhaga” in Tagalog).

Most of the poems are sung, like occupational songs and lullabies.

Example: The balitaw is an extemporaneous poetic debate between man and woman that is sung and danced simultaneously.

Moreover, during the American Period, formal education alienated the Cebuano’s from the richness of their oral traditions and from
their natural ability to extemporize and create poetry; and new aesthetics transformed Cebuano poetry  - experimenting with new forms,
and refining the Cebuano language to capture its nuances and musicality:

Kon (If, 1936) by Gardeopatra Quijano - one of the few published women poetries, and the magical quality of its art as a soother of pain
and giver of joy and beauty is celebrated.

Bulak sa Daplin sa Dalan (Flower by the Wayside, 1952) by Hilda Montaire- was about the discovery of a deepening eternal
enchantment for a seemingly ordinary face in a crowd.

Region VIII (Eastern Visayas Region) – Samar and Leyte

The literature of Eastern Visayas refers to the literature written in Waray and in Cebuano. Of the two, it is Waray literature that has been
collected, recorded, and documented by scholars and researchers from the writers in this region. It is in this light that whenever East
Visayan literature is written about, it is usually Waray literature that is being described. (Source: ncca.gov.ph)

 Here are some of the literary forms and pieces in the region:

a.    Poetry - candu, haya, ambahan, canogon, bical, balac, siday and awit

b.    Tigotigo (a riddling game) - the player who joins this game must have a number of   titigohon with him. More than just an element
in a game, the titigohon is a gnomic poem - made up of two lines, which describes the object, but the description is stated in a
metaphor. (During vigils at wakes, people used to recite riddles to each other to drive sleep away.)

c.    Amoral or Ismayling– is a poem whereas form can be traced to the ancient “balac”. It is a poetic love between a man and a woman,
and often chanted or sung (usually dealt with matters of the heart).

d.    Folk songs represent the folk poetry of the Waray. Their themes range from one-sided love, extolling the wonders of tuba (coconut
wine), up to the love of country (An Iroy Nga Tuna – is one of the few nationalistic songs that have survived).

Many of the folk songs in Waray, which have been documented, deal with love, and did serve for a time to express the feelings of love.
In the past, the face-to-face profession of one’s love, which in our time has become straightforward, was not the norm at the start of
courtship.

Example: Ha Kan Inday – a song in which the voice is a suitor, who sings of his unrequited love, who takes his condition with a sense of
humor.

e.    Narratives - susumaton and posong

Hi Antusa, An Asawa San Agta and Donya Maria Ngan Don Felipe – are examples of “susumaton” as an oral form. “ Susumaton” means a
story that people like to tell and retell. Many of these stories were explanations of the existence of things or recollections of experiences
and events from a fabled past.

f.     Theatre Tradition - in the performance of poetry, rituals, and mimetic dances (dances mimed the joys and activities of the ancient
Waray)

g.    Drama  -  hadi-hadi and  the zarzuela (hadi-hadi antedates the zarzuela in development)

h.    Fiction but has not flourished because it lacks a venue for publication.

 Here some of the publications in the region:

a.    An Kaadlawon - the first Waray newspaper, which saw the flourishing of poetry in Waray.

b.    Eco de Samar y Leyte - a long-running magazine in the 1900s; it published articles and literary works in Spanish, Waray, and English.

c.    An Lantawan (Leyte) - has extant copies from 1931 to 1932; they printed religious and occasional poetry.

d.    Leyte News and The Leader in the twenties - the first local papers in English carried about the increasing legitimization of English as
a medium of communication, the gradual displacement of Waray, and the eventual disappearance of poetry from the pages of local
publications

In addition, the growing acceptance of English as an official language in the country strengthened these writers’ loyalty to the ethnic
mother tongue as their medium for their art.

With the organization of the Sanghiran San Binisaya in 1909, writers as well as the illustrados in the community banded together to
determine to cultivation the Waray language. Sanghiran’s members, under the leadership of Norberto Romualdez Sr, had literary
personalities that included Iluminado Lucente, Casiano Trinchera, Eduardo Makabenta, Francisco Alvarado, Juan Ricacho, Francisco
Infectana, Espiridion Brillo, and statesman Jaime C. de Veyra. For a time, Sanghiran was responsible for the appreciation it gave to new
writing in the language.
Lesson 3: MINDANAO

Mindanao Literature, unlike the Luzon and Visayas literature, is not that recognized because of the superficial research by textbook
writers, and for lacking interested literary scholars to focus on the study and appreciation of Mindanao’s literature. Little did they know,
Mindanao is also rich in oral traditions and influences from other nations and colonialist just like the other literatures in the Philippines.
The name "Mindanao" is actually derived from the Spanish corruption of the name of the Maguindanao people  - the dominant ruling
ethnic group in the Sultanate of Maguindanao (in southwestern  Mindanao)  during the Spanish colonial period (Campbell, 2018).

Mindanao has thirty-three ethno-linguistic groups, in which thirteen of them are Islamized; nineteen are Lumads; and third and fourth
are Christian settlers (Llante, 2017). Moreover, according to Dr. Calbi A. Asain (Dean of the College of Arts and Sciences at Mindanao
State University-Sulu), the Muslim cultural communities are the: Jama Mapuns of Cagayan de Tawi-Tawi; the Iranons of Cotabato; the
Kaagans of Davao del Norte, Davao del Sur, and Davao Oriental; the Kalibugans of Zamboanga; the Maguindanaos of Maguindanao; the
Maranaos of Marawi; the Palawanons and Molbogs of Palawan; the Samas of Tawi -Tawi; the Sangils of Sarangani; the Tausugs of Sulu;
the Yakans of Basilan, and the Bangingis of Tongkil and Zamboanga (source: ncca.gov.ph).

Region IX (Zamboanga Peninsula) – Zamboanga del Norte, Zamboanga del Sur, Zamboanga Sibugay, and Basilan

The most commonly spoken dialect in this region is Cebuano, and the others are Zamboangueno, Tagalog, Hiligaynon, Subanun, Iranun,
Ilongo, Chavacano, and Ilocano. These dialects play an vital role in their literature, and with the use of their various dialects they formed
the following:

a.    Epics - "Ag Tobig nog Keboklagan" (The Kingdom of Keboklagan) - was collected among the Subanun.

b.    Riddles - or Tigum (Subanun Riddle) Examples (translated in English):

I can’t see the lightning; I can only hear the thunder. (By Agdino Guilingan)

Answer: A BLIND PERSON

A pond in something round, that dead leaves do not fall into. (By Basilia Quimol Lantas)

Answer: COCONUT.

c.    Story - The White Horse of Alih by Mig Alvarez Enriquez (a story of shame, dishonor, and redemption; and about the quaint
Spanish/American colonial culture of the people of Zamboanga set picturesquely against an Islamic background
(Source: www.goodreads.com).

d.    Essay - Maratbat and the Maranao by Nainobai D. Disomangcop

 Region X (Northern Mindanao Region) – Bukidnon, Camiguin, Lanao del None, Misamis Occidental, and Misamis Oriental

The majority of the region's inhabitants are migrants from Cebu and Iloilo. There are also inhabitants of Waray, Tagalog, and Maranao
descent. Some of their works are:

a.    Folk Tale - The Flood Story (Bukidnon, Mindanao)

b.    Short Stories

Examples:

            -The Battle at Tagoloan

             -Dusk in Capillahan

             -The Cemetery Keeper

 c.    Epic Chants

The ulagíng epic, which recalls the adventures of the main hero Agyu and his brothers and sisters, is sung at night time for at least some
hours, in some cases up to several nights

d.    Songs

Vocal music is the most important means of musical expression in Bukidnon. As a rule, a male or female solo singer performs without
the accompaniment of any musical instrument. The only exception is the collective singing of women called tabúk during the kaligà
ceremonies. The most important types of vocal music are the epic chants collectively called ulagíng and prayers connected with the
kaligà ceremonies. Another widely used are the improvised songs, limbay and the song-speeches dasang of the Banwaon, Bukidnon,
and Higaunen subgroups, the improvised salâ of the Talaandig and, to a certain extent, the ballads idangdang.

All important singing performances start with a special introductory part called pamadà (pamarà), in which the singer invokes guiding
spirits for cooperation and assistance. In fact, to sing in traditional Bukidnon style is a difficult task because it requires the use of an
archaic form of the Binukid language which modern Binukid speakers cannot understand and, therefore, have to learn before being able
to sing. The poetic form is composed of verses, whereby the statement of every line has to be repeated with other words, preferably
with synonyms, in a second line. This poetic device is called sambal (“doubling lines”, verb form pasámbalâ), the poetic form sangen -
sangen.

(Source: Julius F. Garcia's uploaded file in kupdf.net)

Region XI (Davao Region or Southern Mindanao Region) – Compostela Valley, Davao del Norte, Davao del Sur, Davao Oriental, and
Davao Occidental

This region is considered as the melting pot of many cultural groups since it became an immigration area of Cebuanos, Ilonggos, and
Ilocanos. The ethnic groups present here are the Manobos, Bagobos, Maiisakas, Maguindanon, T’boli, Tirurays, and few Muslims; but
Cebuanos, Boholanos, and Ilonggos are the majority groups. Since Spaniards' influences are evident in the majority groups, the culture
in the region became alike in most cities of the Philippines. Christian churches and chapels are visible with temples, mosques, and other
places of worship. In addition, the celebration of festival (fiesta) in barrios (villages) is beheld - and in these celebrations, songs and
dance become the sights and sounds of Davaoenos.

Among the noted writers are:

Ricardo M. de Ungria -the founding member of the Philippine Literary Arts Council (PLAC) and the Unyon ng mga Manunulat ng
Pilipinas (UMPIL)

Tita Lacambra-Ayala (an Ilocano by birth, and relocated to Davao in the mid- 50s) -her writer’s engagement includes school journalism
and working for a pineapple-canning factory. She broke through in 1960 with Sunflower Poems, a slim first book of chipboard -printed
poems.

Aida Rivera-Ford on her "Love in the Cornhusks"

Moreover, even though the culture is far from their fellow Muslims in Lanao, Maguindanao and Cotabato, their riddles are almost the
same term with them and they call them antokanon.

 Region XII (SOCCSKSARGEN or Central Mindanao Region) –South Cotabato, Cotabato, Sultan Kudarat, Sarangani and General Santos.

Central Mindanao is known in history as the site where the Muslim faith was introduced, and was once part of the Sultanate of
Maguindanao and inhabited by Manobos. In 1861, the Sultan of Maguindanao acceded to Spanish rule, and in 1901, the American
government formed Cotabato as a province. From the 1930s to the 1960s, Christian settlers from Luzon and Visayas established homes
in Central Mindanao, which was then considered Muslim territory. Around 70% of the total population in Central Mindanao are migrants
Cebuanos, Hiligaynons, Ilocanos, and Tagalogs. Native to the region are the Maranaos, Maguindanaons, and other ethnic tribes.
Region XIII (Caraga Region) – Agusan del Norte, Agusan del Sur, Surigao del Norte, Surigao del Sur, and Dinagat Islands, and BARMM
(Bangsamoro Autonomous Region in Muslim Mindanao) – Basilan (except Isabela City), Lanao del Sur, Maguindanao, Sulu, and Tawi -
Tawi.

The Caraga Region (officially known as the Caraga Administrative Region) is an administrative region in the Philippines occupying the
north eastern section of the island of Mindanao. The history of Caraga can be traced back to the 15th century when explorers
discovered the existence of “Kalagans”, believed to be of Visayan origin in one of the three districts in Mindanao. The word Caraga
originated from the Visayan word “Kalagan”: “Kalag” meaning soul or people and “An” meaning land. One of the noted works is the
"Manobo Epic: Tuwaang Attends a Wedding (by Arsenio Manuel).

In  the  BARMM  (formerly  called  as  Autonomous  Region  in  Muslim  Mindanao (ARMM)), people here are Muslims, Lumads, and
Christians, and their culture revolves around kulintang music, a specific type of gong music (found among both Muslim and non -Muslim
groups of the Southern Philippines).

In general, the folk literature of Muslim cultural communities in Mindanao is just the same as the other literature, but the style and form
of expression may vary from one Muslim cultural community to another and with the various languages that the people speak. These
oral literary forms may be didactic, hortatory, entertaining, instructive, or informative. And for the other influences, even though not
documented, religious and secular works and modern literary forms are noticeable in some published stories and conducted
celebrations in the region.