9

SPA - Creative Writing

First Quarter – Module 2:
Week 2
 9
SELF LEARNING MODULE FOR CREATIVE
WRITING LEARNERS
Grade Level: Grade 9
Core Subject: Literature as (Various) Discourse(S) in History
Semester: First Quarter (WEEK 2)

LEARNING COMPETENCY:

(Trans-creates literary works from short story to poem or vice versa)

 Exploring Literature as (Various) Discourse(S) in History

Literature and history are closely interrelated. In discovering the history of a race,
the feelings, aspirations, customs and traditions of a people are sure to be
included and these feelings, aspirations, customs and traditions that are written is
literature. History can also be written and this too, is literature. Events that can be
written down are part of true literature. Literature, therefore, is part of history.

This module will describes the emergence and development of literary practices
in the Philippines that would open your mind and able to appreciate our
literature.

In this module, you will know about:

1. Trans-creation and Translations

At the end of the module, you should be able to:

1. Trans-creates literary works from short story to poem or vice

versa.
 Some may ask you to “transcreate” (or
“adapt”) a text rather than simply
translating it…

-Transcreation basically means recreating a text

for the target audience, in other words “translating” and “recreating” the text.
Hence the term “transcreation”. Transcreation is used to make sure that the target
text is the same as the source text in every aspect: the message it conveys, style, the
images and emotions it evokes and its cultural background. You could say that
transcreation is to translation what copywriting is to writing.

Task 1:

Read the different literary pieces and be able to transcreate it in your local language (e.g Hiligaynon)
and English or vice versa.

LOCAL LANGUAGE
TAGALOG ENGLISH
(HILIGAYNON)
EXAMPLE:

Wala sa langit, wala sa lupa Not in heaven, not on earth, Wala sa langit,wala sa duta
Kung tumakbo ay patihaya. it walks on its back
Pero kng Magdalagan naga
(BUGTONG) talikod.
Tutubi huwag kang magpahuli
sa batang mapanghi.
("Tugmang Tagalog" or
"Nursery Rhymes")
Mahangay ang pait ng pag-aaral
Kaysa pait ng kamangmangan.

(SALAWIKAIN)
May apat nabinti, hindi
makalakad.
(BUGTONG)
Ang di inaasahan,
Karaniwa’y nakakamtan.
(SALAWIKAIN)
Matulog ka na, bunso
Ang ina mo'y malayo
 Di ko man masundo
May putik at balaho.
(OYAYI)
Kapag pinangatawanan,
Sapilitang makakamtan.
(SALAWIKAIN)
May kamay,walang diliri
(BUGTONG)
Ulan, ulan
pantay kawayan;
bagyo, bagyo
pantay kabayo.

("Tugmang Tagalog" or
"Nursery Rhymes")
Bahay kubo, kahit munti,
Ang halaman doon ay sari-
sari;
Singkamas at talong,
Sigarilyas at mani, sitaw,
bataw, patani.
Kundol, patola, upo't
kalabasa,
At saka meron pang
labanos, mustasa,
Sibuyas, kamatis, bawang
at luya,
Sa paligid-ligid ay puno
ng linga.
(FOLK SONG)
Ako ay Pilipino
Ang dugo'y maharlika
Likas sa aking puso
Adhikaing kay ganda
Sa Pilipinas na aking bayan
Lantay na Perlas ng
Silanganan
Wari'y natipon ang
kayamanan ng Maykapal

Bigay sa 'king talino

Sa mabuti lang laan
Sa aki'y katutubo
Ang maging mapagmahal

Chorus:
Ako ay Pilipino,
Ako ay Pilipino
Isang bansa, isang diwa
Ang minimithi ko
Sa bayan ko't bandila
Laan buhay ko't Diwa
Ako ay Pilipino,
Pilipinong totoo
Ako ay Pilipino,
Ako ay Pilipino
 Taas noo kahit kanino
Ang Pilipino ay Ako!

(AWIT)

Task 1: Read and observe the literary piece below and answer the following question.
Parabula / Parable
Tula ni
Bienvenido Lumbera
(Kay Carlisle Floyd, kumpositor ng
operang Susannah.)
Nang si Susana’y lumusong sa
batis,
katawan niya’y niyakap ng tubig.
Sa nangakasaksing mga matanda,
bumalong sa dibdib ang
pagnanasa…
Batang katawan ay sumbat ng
unos
sa lamang tigang ng mga nanubok.
Bumuhos na baha ng sumpa’t poot
ang nasang kanina’y lihim na
agos…
Nang si Susana’y umahon sa
pampang,
katawan niya’y dinamtan ng halay.
Sa matandang ugat at lamang luoy,
tuyong kabataa’y muling dumaloy
(For Carlisle Floyd, composer of the
opera Susannah.)
When Susannah stepped into
the brook,
the water embraced her body.
Among the old men who chanced
to see her,
in the heart desire began to flow.
Her young body was a reproach of
heavy rains
on the arid flesh of the voyeurs.
Desire which was only a secret
current a few moments ago
became a raging flood of wrath
and curse.
When Susannah went ashore,
her naked body was wrapped with
shame.
In old veins and withered flesh,
sere youth flowed again.

1. Critic the two poems based on the message it conveys, style, the images and emotions
it evokes.
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 2. Did the English version of the poem was successfully trans-created? Why? EXPLAIN
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There is no literary translation theory to follow but when translating a novel or any other
types of literary translation work it is like being a writer. The translator needs to be
competent in two languages and also needs to be a competent writer too. The translator
has to be able to translate the creativity of the writer into a language that puts across
the same type of creativity with the same message.
There is no literary translation theory for that. The translator also needs to consider the
culture of the targeted audience so the translated literary works put across its message
to the audience in a way it will be understood without having to detract too much from the
message that the author intended. The translator needs to try and preserve the author’s
own style, meaning, and tone.

Task 4: Read the POEM of JOSE CORAZON DE JESUS and be able to transcreate it in your local
language (e.g Hiligaynon) and English.
LOCAL LANGUAGE
TAGALOG ENGLISH
(HILIGAYNON)
Isang Punongkahoy
Tula ni
Jose Corazon de
Jesus

kung tatanawin mo sa
malayong pook,
ako’y tila isang nakadipang
kurus,
sa napakatagal na
pagkakaluhod,
parang hinahagkan ang paa
ng Diyos.
Organong sa loob ng isang
simbahan
ay nananalangin sa
kapighatian
habang ang kandila ng
sariling buhay,
magdamag na tanod sa
aking libingan…
Sa aking paanan ay may
isang batis,
maghapo’t magdamag na
nagtutumangis;
sa mga sanga ko ay
nangakasabit
ang pugad ng mga ibon ng
pag-ibig.
Sa kinislap-kislap ng batis
na iyan,
asa mo ri’y agos ng luhang
nunukal;
at saka ang buwang tila
nagdarasal,
ako’y binabati ng ngiting
malamlam.
Ang mga kampana sa
tuwing orasyon,
nagpapahiwatig sa akin ng
taghoy,
ibon sa sanga ko’y may
tabing nang dahon,
batis sa paa ko’y may luha
nang daloy.

Assess your learning progress by completing the following statements.

I have learned that ________________ ________________ ______.

I have realized that ________________ _________________ _____.

I will apply _____________ _________________ _______________.

 I. Read the Folktale (Kwentong Bayan) and transcreate it in tagalog or vice
versa.

1. One day a female crocodile told her husband that she could not eat any kind of food except the lungs
of a monkey. The husband replied that he would bring her the desired food.
The next morning, he started hunting for a monkey. Finally, he found one on top of
a guava tree. The crocodile said, Oh my dear monkey, why are you eating the leaves of the guava tree? There
are plenty of delicious fruits near my bathing place.
Is that so? asked the monkey.
Yes, replied the crocodile, Just go with me, ride on my back and I will take you there.
The monkey gratefully agreed, and right away stepped on the back of the crocodile. When they were in the
middle of the river the crocodile said, Mr. Monkey, now that I have caught you, I must take your lungs for
my beloved wife's food.
My lungs!... the monkey exclaimed in mock surprise. I have left them on the guava tree yonder. If you need
them let us go back and get them. The crocodile immediately brought the monkey back to the shore, and upon
reaching the land, the monkey hastily climbed up the guava tree and cried out to the crocodile: Oh,
foolish crocodile! Have you ever seen an animal leaving his lungs in any place besides his
body? The crocodile was very much disappointed, so he decided to think of another plan of capturing his prey.
The next day, the crocodile went to the bathing place of the monkey. When the monkey took a bath
the crocodile caught one of his legs. Do not bite my cane, my friend crocodile. This is the only cane I
have. Please let it loose. The crocodile released the monkey's leg, believing that it was not his leg but his
cane. Again the monkey escaped from death and was happy. The crocodile's plan to bring lungs to his wife
was a failure.

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2. Noon daw kauna-unahang panahon ay walang anumang bagay sa daigdig kundi langit at dagat
lamang. Ang bathala ng langit ay si Kaptan. Ang bathala ng dagat ay si Magwayen.

Si Kaptan ay may isang anak na lalake- si Lihangin. Si Magwayen naman ay may isang anak
na babae- si Lidagat. Pinagpakasal ng dalawang bathala ang kanilang mga anak at sila’y
nagkaanak naman ng apat na lalake- sina Likalibutan, Ladlaw, Libulan, at Lisuga.

Nang lumaki ang mga bata, si Likalibutan ay naghangad na maging hari na sansinukob
at ito’y ipinagtapat niya kina Ladlaw at Libulan. Wala pa noon si Lisuga. Sapagkat
takot noon sina Ladlaw at Libulan kay Likalibutan ay sumama sila rito sa sapilitang
pagbubukas ng pinto ng langit. Galit na galit si Kaptan. Inalpasan ni Kaptan ang mga kulog
upang ihampas sa mga manghihimagsik. Nang tamaan ng kidlat, naging bilog na parang bola
sina Libulan at Ladlaw, ngunit ang katawan ni Likalibutan ay nagkadurog- durog at nangalat
sa karagatan.

Nang magbalik si Lisuga ay hinanap niya ang kanyang mga kapatid. Nagpunta siya sa
langit. Pagkakita sa kanya ni Kaptan ay pinatamaan siya agad ng isang kulog. Ang katawan
ni Lisuga ay nahati at lumagpak sa ibabaw ng mga pirapirasong katawan ni Likalibutan.

Tinawag ni Kaptan si Magwayen at sinisi sa pagkapanghimasok ng mga anak, ngunit sinabi

ni Magwayen na hindi niya alam ang nangyari pagkat siya’y natutulog. Nang humupa ang galit
ni Kaptan, sila ni Magwayen ay nagiliw sa apat na apo. Kaya, pagkaraan ng di matagal na
panahon ay binuhay uli ni Kaptan ang mga pinarusahan. Si Ladlaw ay ginawang adlaw [araw],
si Libulan ay naging bulan [buwan]. Si Likalibutan ay tinubuan ng mga halaman at naging
sanlibutan. Ang kalahati ng katawan ni Lisuga ay naging silalak (lalake) at ang kalahati naman
ay naging sibabay (babae), ang unang lalaki at babae ng daigdig
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II. Construct a Free Verse poem in English and translate it in your local
language. (e.g Hiligaynon)
 Turning your prose into
poetry
Read Michael J. Bugeja essay, "Writing through Littleton."and observe
how he transcreate his short story into a poem. The paragraph on the
left is the one he used to compose his poem, "Littleton,"
“Writing through Littleton”
By Michael Bugeja, for The Quill
Once a student journalist stood up in
lecture, mumbling incoherently.
Classmates shunned her. Afterward
she sidled toward the exit while others
hurried by her -- all but one, a student
leader I will call Sarah, popular,
intelligent and involved -- who invited
her to coffee.
This memory returns year after year,
the last time at prompt of news about
Littleton.
Why?
I am a magazine journalist and media
ethics teacher at Ohio University, and
this is a process piece about covering
tragedy to uncover deeper truth.
April 20, 1999: Two shooters at
Columbine High School have taken
their own and lives of a coach and
dozen peers. The reporter in me re-
awakens, the urge to participate in a
national story.
To do that, I need expert sources.
The next day I email psychologists
and professors about the importance
of peer leadership in schools. I am
writing about Littleton, I inform them,
and share my workshop anecdote.
In truth, I did not see Sarah's gesture
then as "leadership"; I saw it as
"maturity," but I was mistaken.
Students rushing for the exit might
have been exhibiting maturity,
knowing incidents like this are best
left to counseling. As such these
"non-enablers" would be technically
“Littleton”
The schoolyard tolls as once the
graveyard did
For trenchcoat Thomas Gray,
whose madding crowd
Secured the gates of mercy. Now
we heed
The cable aftermath of talking
heads
Advising us to hire more armed
guards,
To lose illegal guns. Bulletins
bombard
The internet and cheapen the
debate
About the role of Hollywood and
hate
Until the circus folds the tent and
goes
When coverage of Columbine
plateaus
With Kosovo. The images of that
Seem similar, the eerie "rat-tat-tat"
Of clips accompanied by audio
Of real ones, to which we have
since Waco
Grown accustomed on TV as
stimulus:
rather than morally correct; however, Littleton will slip into
on that day a popular student unconsciousness
interceded as a male teacher, in an Of information-angst and from our
academic climate, could not -- as minds.
friend and confidant. That We've learned to fear a future that
spontaneous act of leadership rewinds
resembled "grace," those times we
anticipate the worst -- isolation, social
exile -- and receive, instead, By click of mouse, by button of
compassion and invitation. remote,
Maturity allows for grace but does not Transmitting terror live by satellite,
require it; leadership does. Maturity Though some of us remember
shuns risk in the name of history
responsibility; leadership takes risks
in the same name. But there is When news was truth and not reality
something else, some abstract
essence associated with Littleton
which I cannot articulate without
expert assistance.
No one answers my emails. I wait a
few more days. It is nearly May,
end of a busy quarter. Running out
of options, I decide to blame
media. Why not? We have been
inundated with mega- and sound-
bytes of terror. Pundits tell us to
lose the guns and hire more armed
guards, blaming or pardoning
parents in interactive debates. In
congressional hearings, witnesses
reduce those debates to violent
video games, movies, and
homepages. Meanwhile, our
collective wasteland enlarges
when Columbine coverage tops
that of Kosovo. Images of both are
similar -- sensational clips
accompanied by "rat-tat-tat" of real
ones (to which we have grown
accustomed since Waco) -- casting
a dull veneer on TVs, which let in
more secondhand pain than light.
Littleton can happen anywhere, TV
tells us.
I live in Anywhere, Ohio, where it is
prom time. The high school has been
worried about copycat crimes -- this,
according to my daughter. She's
upset about the locker checks. A year
ago I might have been concerned
about her locker; but she has gone
vegetarian, lecturing me at parties
about sirloin and Merlot. There's talk,
she says, of a list -- this one, not by
potential copycats about their targets
-- but by teachers about potential
copycats. Another paradox; but I'm
wary because my daughter has been
known to play with Daddy's brain.
I stop writing media criticism. There's
plenty of it about Littleton already on
the internet.
Anyway, I'm late for my son's pizza
party, the soccer season's culinary
finale. He takes a wooden sword, last
year's Medieval Fair souvenir -- but I
don't immediately notice. At the park I
spot a scientist, Martha. She has a
soccer son, too, admiring my boy's
sword. She asks what I am working
on, and I tell her about Littleton.
Martha listens intently. She knows
how it feels to be a teen outcast, she
confides. "I loved to read, was
intensely into the space program,
didn't like makeup, wouldn't 'dis' the
teachers.
"And frankly," she adds, "I wasn't
really interested in boys."
Our boys are combing the ground for
branches.
Martha recounts the cruelties of high
school. She got obscene phone calls
at home and was sexually harassed
at school. "People would sometimes
make up nasty poems about me," she
says. "It just went on and on."
I empathize with Martha, but keep an
eye on our sons sword-fighting now,
one using the souvenir and the other
a jagged oak branch. Their
teammates munch pizzas and gather
round. Martha has her back to them,
continuing her narrative. She was
able to survive, in part, because of a
popular student named Charlotte who
belonged to a clique that liked fast
cars, loud music, and stock car races.
"I think back now on Charlotte and
how she had the moral conviction to
be my friend," Martha says, "and I am
amazed."
I am amazed that Martha is still in
contact with Charlotte.
"My friendship with her has probably
had the greatest impact on me,"
Martha replies. "We still write to each
other, or call once or twice a year."
The whack of wood on wood startles
us. Martha sees the boys. I tell mine
to put the sword in the car. Martha's
son drops the branch. We are parents
of boys who still obey us.
Martha turns to me. "You and I may
be among the few who can forgive
Eric Harris and Dylan Klebold," the
Columbine shooters. Perhaps they
never were lucky enough to have a
Sarah or a Charlotte in their lives.
Leadership. Forgiveness. Here lies
the elusive component, that deeper
truth: Maturity forgives but doesn't
forget, concerned about the future.
Leadership forgives and accepts the
future, concerned about compassion.
In coming weeks I will not write about
Littleton but through it, through the
loss and morass of media, accepting
the tragedies we cannot change and
the Sarahs and Charlottes who
change us because of their
compassion.
That is the story that now must be
told.

1. What was the story all about? Did the message of the poem convey the same with
the story? Explain why.
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Understanding poetry usually results in writing it.

If you write prose, you may want to try this technique
used by published poet-writers:

1. Identify a section in one of your stories, essays, or articles. The section

should have a clear topic and theme and presence of strong emotion,
insight, or analysis.
2. Keep or revise your title so that it foreshadows topic or theme.
3. Select a sentence from your prose excerpt that contains topic and
theme.
4. Revise the sentence so that it expresses a powerful idea.
5. Revise and/or break the sentence into phrase-units that begin and end
with a noun, adjective, or verb.
6. Select other lines from your prose excerpt that contain topic or theme
statements.
7. Repeat Step #4.
8. Optional: Organize your lines into stanzas, each containing at least
one substantial theme statement.
9. Rearrange, revise, or invent theme statements so that they build
toward universal truth in the ending.
10. Express that truth in line format.
I. Read the following literary pieces and be able to transcreate it
from short story to poem or verse versa. You may English or
your local language.

SHORT STORY/ MAIKLING KWENTO POEM/ TULA

Isang araw ang babaing 1.

maggagatas ay nagpunta sa palengke
na may bote ng gatas sa kanyang
ulo. Maganda at mabuti ang panahon
ng araw na iyon. Habang siya ay
naglalakad sa maruming lansangan,
siya ay nagsimula ng mangarap kung
ano ang kanyang gagawin sa perang
mapagbibilihan niya ng gatas.

Marahil, sabi niya, bibili ako ng

manok sa aking kapibahay at kapag
ito’y nangitlog, ipagbibili ko at ang
perang mapagbibilihan ko ng itlog ay
ibibili ko nang magandang damit na
may laso. Baka bumili rin ako ng isang
pares ng sapatos. Pagkatapos ay
pupunta ako sa Pistang Bayan at ang
lahat ng mga lalaki doon ay
magtitinginan sa akin at ako’y
susuyuin ngunit hindi ko sila
papansinin at iismiran ko pa sila.

Nakalimutan niya na may bote ng

gatas sa kanyang ulo, kaya’t paggalaw
niya sa kanyang ulo, ang mga bote ay
nagsibagsak. Ang mga ito ay kumalat
sa kapaligiran. Ang kanyang mga
pangarap ay nagsilaho kasabay ng
mga bote ng gatas.
Lungkot na lungkot siyang umuwi at
hindi niya malaman kung saan siya
kukuha ng kakainin para sa araw na
iyon
2. Kabayanihan
Tula ni
Lope K. Santos

Ang kahulugan mo’y isang

paglilingkod
na walang paupa sa hirap at pagod;
minsang sa anyaya, minsang kusang-
loob,
pag-ibig sa kapwa ang lagi mong
diyos.
Natatalastas mong sa iyong pananim
iba ang aani’t iba ang kakain;
datapwa’t sa iyo’y ligaya na’t aliw
ang magpakasakit nang sa iba dahil.
Pawis, yaman, dunong, lakas,
dugo, buhay…
pinupuhunan mo at iniaalay,
kapagka ibig mong sa kaalipinan
ay makatubos ka ng aliping bayan.
Sa tulong mo’y naging maalwan ang
dukha,
sa turo mo’y naging mulat ang
mulala,
tapang mo’y sa duwag naging
halimbawa’t
ang kamatayan mo
ay buhay ng madla.
Tikis na nga lamang na ang mga tao’y
mapagwalang-turing sa mga tulong
mo;
ang kadalasan pang iganti sa iyo
ay ang pagkalimot, kung di paglililo.
“The monkey and the Crocodile”
3.
One day a female crocodile told
her husband that she could not eat
any kind of food except the lungs of a
monkey. The husband replied that he
would bring her the desired food.
The next morning, he started hunting
for a monkey. Finally, he found one
on top of a guava tree.

The crocodile said, Oh my dear

monkey, why are you eating the
leaves of the guava tree? There are
plenty of delicious fruits near my
bathing place.
Is that so? asked the monkey.
Yes, replied the crocodile, Just go
with me, ride on my back and I will
take you there.
The monkey gratefully agreed, and
right away stepped on the back of
the crocodile. When they were in the
middle of the
river the crocodile said, Mr. Monkey,
now that I have caught you, I must
take your lungs for my beloved wife's
food.
My lungs!... the monkey exclaimed in
mock surprise. I have left them on
the guava tree yonder. If you need
them let us go back and get
them. The crocodile immediately
brought the monkey back to the
shore, and upon reaching the
land, the monkey hastily climbed up
the guava tree and cried out to
the crocodile: Oh, foolish crocodile!
Have you ever seen an animal leaving
his lungs in any place besides his
body? The crocodile was very
much disappointed, so he decided to
think of another plan of capturing his
prey.
The next day, the crocodile went to
the bathing place of the
monkey. When the monkey took a
bath the crocodile caught one of
his legs. Do not bite my cane,
my friend crocodile. This is the only
cane I have. Please let it
loose. The crocodile released the
monkey's leg, believing that it was not
his leg but his cane. Again the
monkey escaped from death and was
happy. The crocodile's plan to bring
lungs to his wife was a failure.
II. Compose your own poem and Trans-create it in a short story and vice versa.

POEM => SHORT STORY

SHORT STORY=> POEM
Answer key
Answers may vary

References

Evdokia Gerasimou Marketing Manager at GlobaLexicon, Evdokia Gerasimou. “The 'Art' of

Transcreation.” GlobaLexicon, October 2, 2018.
https://www.globalexicon.com/news/blog/the-art-of-
transcreation/?fbclid=IwAR1zJDKQhwDmy4ERYgl_iJ-
3VeZYubXdYjoSaXFeRWkxIOdbR9k_RGRF344.

“Ang Pinagmulan Ng Sansinukob at Lahi (Alamat / Legend).” KapitBisig.com, August 8, 2020.

https://www.kapitbisig.com/philippines/tagalog-version-of-legends-mga-alamat-ang-
pinagmulan-ng-sansinukob-at-lahi-alamat-legend_291.html.

Bugeja, Michael J. “Literary Alchemy: Turning Your Prose into Poetry.” Writer's Digest, March
11, 2008. https://www.writersdigest.com/poetry/literary-alchemy-turning-your-prose-into-
poetry.

“Discover.” Facebook Connectivity, May 5, 2020.

https://www.0.discoverapp.com/https/pbtranslations.wordpress.com/2010/07/14/transcreati
on-translating-and-recreating/.

“Isang Punongkahoy Tula Ni Jose Corazon De Jesus.” KapitBisig.com, August 6, 2020.

https://www.kapitbisig.com/philippines/poems-written-at-different-times-by-various-
authors-isang-punongkahoy-ni-jose-corazon-de-jesus_1069.html.

“KA BEL (A Poem by Bienvenido Lumbera).” Barangay RP, May 24, 2008.
https://barangayrp.wordpress.com/2008/05/24/ka-bel-a-poem-by-bienvenido-lumbera/.

“The Monkey and the Crocodile (Folktale / Kuwentong-Bayan).” KapitBisig.com, August 9,

2020. https://www.kapitbisig.com/philippines/english-version-of-folktales-mga-
kuwentong-bayan-the-monkey-and-the-crocodile-folktale-kuwentong-bayan_1017.html.

“Parabula / Parable Tula Ni Bienvenido Lumbera.” KapitBisig.com, August 8, 2020.

https://www.kapitbisig.com/philippines/poems-written-at-different-times-by-various-
authors-parabula-parable-ni-bienvenido-lumbera_1035.html.

“Techniques, Tips and Tricks for Literary Translation.” Blog - DAMMANN German English
Translations, April 14, 2020. https://www.dammann.com.au/blog/tips-and-tricks-for-
literary-translation/.

“Transcreation: Translating and Recreating.” Translating is an Art, February 17, 2015.

https://pbtranslations.wordpress.com/2010/07/14/transcreation-translating-and-recreating/.

Prepared by:

STEPHANIE D. CASUELA
Teacher I
Negros Occidental
Region VI