University of San Carlos Publications

NOTES ON THE LANGUAGE ISSUE, CEBUANO LITERATURE, AND NATIONAL IDENTITY

Author(s): Erlinda K. Alburo
Source: Philippine Quarterly of Culture and Society, Vol. 18, No. 4 (December 1990), pp.
312-318
Published by: University of San Carlos Publications
Stable URL: http://www.jstor.org/stable/29792030
Accessed: 13-10-2016 18:54 UTC

JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted
digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about
JSTOR, please contact support@jstor.org.

Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at
http://about.jstor.org/terms

University of San Carlos Publications is collaborating with JSTOR to digitize, preserve and extend access
to Philippine Quarterly of Culture and Society

This content downloaded from 130.64.11.153 on Thu, 13 Oct 2016 18:54:28 UTC
All use subject to http://about.jstor.org/terms
 Philippine Quarterly of Culture & Society
18(1990):312-322

NOTES & COMMENTS I think that no view of the con

temporary scene in Cebuano
literature will be complete
NOTES ON THE LANGUAGE without the language angle.
ISSUE, CEBUANO LITERA? Everyone knows how outside the
TURE, AND NATIONAL National Capital Region voices of
IDENTITY* dissent have been heard, and the
Cebuano-speaking group has
Erlinda K Album been understandably loudest since
there are more native speakers of
Cebuano than of any other Philip?
Last February 28 the book pine language.
launching of a Cebuano detective Writers as a group have a very
novel, Porfirio de la Torre's Target special interest in language be?
cause it is at the core of their art.
K, was also occasion for airing sen?
timents among Cebuano writers Today's agitations regarding the
regarding the national language
status of Cebuano vis-?-vis
issue (it was a kapihan literally Tagalog is a reminder of the
aired over two local radio sta? politics involving language use. It
is also an illustration of the fact
tions). Consensus was reached on
the value and need for a national that conflicting attitudes toward a
language for the sake of unity and national standard and group
some sense of dignity on the inter?
varieties will reflect social and
national scene. But at the same political processes at work.
time, the discussants pointed out The literary scene is a deja vu,
that the national language, as recalling the early decades of
provided for by the Philippine American rule known as "The
Constitution, should be drawn Golden Age of Vernacular Litera?
from local vernaculars with ture" when Spanish was declining,
Tagalog as base; also, everyone English was just starting to be used
agreed that Cebuano must be as medium of instruction, and a
vigorously promoted in order to wave of nationalism swept in.
preserve the identity and culture Compare that with today, when
of the region. English is somewhat declining,
Tagalog is somewhat used as

* A paper originally entitled "Overview of Cebuano Literature" and read at the National Conference
on Regional Literature on April 20-22,1990, Cagayan de Oro City, with some updating.

This content downloaded from 130.64.11.153 on Thu, 13 Oct 2016 18:54:28 UTC
All use subject to http://about.jstor.org/terms
 NOTES & COMMENTS 313

medium of instruction, and a new tive writing; Bag-ong Balud and

wave of nationalism comes sweep? Bag-ong Lungsoranon, both
ing in. emerging two years ago, the latter
Today's Cebuano writers are published by the Archdiocese of
afraid of losing their audience. Cebu and a resurrection of the
The newly regained prestige of pre-war Lungsoranon; the Man
writing in the vernacular is tabunon of the Surigao chapter of
threatened. Just as the writers of LUD ABI; Katilingbanong
the 1920s and 1930s directed ef? Basahon of the Zamboanga del
forts at codification of Cebuano Sur chapter; andAngParola of an
(by dictionaries, rules of orthog? Agusan chapter (I hope these and
raphy, coinages, etc.), today's perhaps others I may not know of
writers are talking about levels of are still out there).
usage, vocabulary and diction. What's remarkable about most
The need for a formal study to of these publications is that they
serve promotion of the language are issued by farflung chapters of
may have been partially met with the LUDABI, whose center is
the coming out of the Formal Cebu. In Cebu itself, one is heart?
Functional Cebuano-English Dic? ened by the appearance of Hiyas
tionary with an English-Cebuano and Sugbuanon, the former a
Lexicon and Special Articles (pub? literary magazine published by a
lished by compiler-linguistics cooperative formed by members
specialist Mimi Trosdal). of the BATHALAD, a splinter
Cebuano periodicals mush? group from LUDABI, the second
roomed during those early a news and literary publication of
decades, to become outlets for drama enthusiasts. I believe these
literary works. The intimate two are responses to the felt need
relationship between journalism for alternative media for Cebuano
and literature obtaining in the pre? literature besides Bisaya,
war years may be seen emerging erstwhile lord of Cebuano outlets
once more. based in Manila and recently gone
Ang Dagang Bisaya, an ir?bomba to increase sales. The
regular publication of LUD ABI,latest addition is Sugbo, started
the biggest group of writers in thelast July and supported by the local
country today, was revived in 1983.government of Cebu. The
Ludabi has also resurfaced, pos?
Other vernacular magazines are:
Salaysayon (Misamis), with sibly
a to replace Dagang Bisaya.
column by Leo Gacrama on crea

This content downloaded from 130.64.11.153 on Thu, 13 Oct 2016 18:54:28 UTC
All use subject to http://about.jstor.org/terms
314 PHILIPPINE QUARTERLY OF CULTURE & SOCIETY

schools. Since the Annual

Every literary scholar knows
how mass media have affected LUDABI Convention was
literature in this country, not only brought out of Cebu to Mindanao
by offering a convenient way of in the 1970s, more chapters have
experiencing vicariously the ups sprung up, carrying their own
and downs of a Flordeluna, thus names, often ending in a BI for
promoting certain stereotypes and Bisaya, e.g., SAVALBI in Molave,
repeatable plots, but also by Zamboanga del Sur, DIDABI in
watering down the vehicle of Davao, and KADILBI in Opol,
literature itself, namely, the lan? Misamis Oriental. GUMIL> the
guage. The purists cry out at the Ilokano counterpart of LUDABI
adulteration, but I think it's an ir? may have a chapter in Hawaii;
reversible process. Our young can? LUDABI has one on the U.S.
not converse without code mainland, which even sends a con?
switching even on formal oc? testant for the "Hara sa LUDABI"
casions. What the kapihan group contest now and then.
suggests is the formulation of Fortunately (or unfortunate?
policies for radio and TV that ly), some LUDABI members who
would help promote the Cebuano want to preserve the purity of the
language not in its "pure" form (if membership (i.e., sans politicians
there's such a thing) but in a more and businessmen) have split.
elegant but still readily under? "Puting Dagang" did just that as
standable one. Slowly TV early as 1968; it's still alive and last
programs are going Cebuano, and met on Dec. 10, 1989.
radio commentators might just KAMAGAS was founded even
take stock of this and improve earlier, in 1963, by Cebuanos from
their speaking style. One might the eastern coast. And who knows
look forward to another renais? what other groups there are? Two
sance in the media: the Cebuano of the most impressive are the
film. BATHALAD and MAG
But so much for the language SUSULAT, Inc. BATHALAD
promotion stuff. What else are was founded in 1969 and boasts of
our Cebuano writers doing? They a majority of prize-winning mem?
still have their writers' groups, of bers. MAGSUSULAT, Inc. is a
course. LUD ABI, started in 1956, group of Cebuano writers working
is still growing with the addition of in Manila, including such stalwarts
young writers who formed junior as Tiburcio Baguio, Bisaya editor,
chapters in their respective and lawyer Junne Canizares.

This content downloaded from 130.64.11.153 on Thu, 13 Oct 2016 18:54:28 UTC
All use subject to http://about.jstor.org/terms
 NOTES & COMMENTS 315

Recently, the group Dagang Foun? these three-day affairs writers

dation, was formed to promote not young, middle-aged and old (once
only the literature but also the cul? we had a 72-year-old antiquarian,
ture of the Cebuanos. who showed a rare poetic form).
LUDABI, BATHALAD and These writers are from Cebu,
MAGSUSULAT, Inc. continue Bohol, Negros, and Mindanao;
sponsoring literary contests on a men, women, and in-between; the
regular basis, in addition to oc? established and the newly
casional competitions sponsored hatched. All learn from one
by the CCP, the regional offices of another. What the workshop has
government bureaus or agencies, done is to convene Cebuano
schools, and private individuals writers in a lively interchange. We
and groups. An interesting effect were able to bring together col?
of this is that a writer can become leagues who had lost touch with
a professional contestant. each other, as well as those who
Producing works for the literary had not known of each other's ex?
contests then is a worthwhile istence. Traditional poets met ex?
enterprise not just for the money perimentalists; prize-winners gave
but because one is forced to attend advice to willing neophytes, while
to quality writing. On the side, of writers of short-stories and plays
course, one can continue produc? in Cebuano justified their fixa?
ing for a commercial outlet like tions.
Bisaya which, as editor Noy Tibu I would like to put in a word
says, doesn't have pretensions of about literary translations. Cross
being artistic, anyway. regional translation would be a
I would like to think that the great help in the building of a na?
Cebuano Studies Center of the tional literature. The flow of
University of San Carlos, where I translation is such, however, that
work, has contributed significantly much more is done into Cebuano,
to the emerging crop of new than from Cebuano into another
writers as well as encouraged old language. The only texts to date
practitioners to refine their craft. that have been translated from
Started in 1984 to honor the late Cebuano into another Philippine
poet Cornelio Faigao of USC, the language (as far as I know) are Tet
Annual Workshop for Cebuano Maceda's versions into Tagalog of
Writers provides around 15 fel? 12 of Marcel Navarra's short
lowships in both English and stories, and Efren Abueg's
Cebuano. We have mixed within Manunulat, which has 3 Cebuano

This content downloaded from 130.64.11.153 on Thu, 13 Oct 2016 18:54:28 UTC
All use subject to http://about.jstor.org/terms
 316 PHILIPPINE QUARTERLY OF CULTURE & SOCIETY

short stories, one each by Gumer themes and didactic modes.

Rafanan, Jose Labuga, and Those were indeed a serious group
Ambrosio Suico, all translated of writers. After 1935, however,
into Tagalog by Nazario Bas. when independence was promised
Maybe some of our multilingual by the Commonwealth, a period
writers can also do Cebuano into which also saw the increasing in?
Waray or Hiligaynon. fluence of Hollywood, writers
Between 1985 and 1988, trans? turned to escape literature in
lations into English were carried detective stories, adventure and
by Mithi and Ani. In a 1985 issue love themes, and fantasy. The
of Mithi, which is published by writer's role gradually shifted
UMPIL (Unyon ng mga Mag from castigator of abuse and advo?
susulat sa Pilipinas), are 7 poems cate of nationalism to that of pur?
by 4 contemporary Cebuano veyor of daydreams.
poets. In the CCP-published Ani For a long time, the literature
(Dec. 1987) 13 poems by 8 con? was fixated on escapism. Today,
temporary Cebuano poets, one there is no great protest literature
short story by Gremer Chan Reyes in Cebuano like in Tagalog. What
and a novel excerpt by Ric Patalin there is is by a minority who write
jug are included. Our own for workshops or campus publica?
Cebuano Studies Center is com? tions. We still have to see a book
pleting a Toyota Foundation in Cebuano like Kamao. Tamer
project of a 5-volume critical an? versions, however, of what might
thology series in poetry, fiction be considered protest literature
and drama, which carry facing have passed through the hands of
texts in the original Cebuano and judges of those contests I men?
in English. Each volume is tioned, and won. The criteria for
prefaced with a historico-critical the 1989 short-story contest spon?
essay, and includes annotations to sored by Magsusulat, Inc. do not
the texts as well as biographical include a definite bias for a social
sketches of the writers. message, but comprise 25% each
Now comes the important for plausibility, craftmanship,
question: What do Cebuano characterization, and language
writers write about? tone. The winners of that contest
The answer is in contrast to include Benjamin Montejo's "Ang
that for the prewar 1910s and Tawag sa Bukid" (Call of the
1920s, which saw predominantly Mountain) which is against the
nationalistic, socially committed lowlanders' greed; Rogelio

This content downloaded from 130.64.11.153 on Thu, 13 Oct 2016 18:54:28 UTC
All use subject to http://about.jstor.org/terms
 NOTES & COMMENTS 317

Pono's "Balik sa Sabakan sa one may construct an idea of na?

Kahusay" (Back to the Bosom of tional identity.
Peace) which is against the corrup? Thus we might ask first: What
tion in the city and among the edu? patterns of experience recur
cated; Leonilo Estimo's "Mga among majority of our people in
Multo sa Handurawan" (Ghosts of the regions who live in a culture of
the Mind) and Cesar Kilaton Jr.'s poverty? The many stories reveal?
"May Adlaw Pa ang Kahaponon" ing the pattern must be read not as
(The Afternoon Has Light Still), tiresome repeated variations of
both against the brain drain. the same old theme (like the rural
We see no raising of fists here, innocent corrupted by the city) but
but there is usually a change of as a quiet clamor, a communica?
heart as a result of soul-searching. tion of the people's wish-fulfill?
It is a socially conscious literature ment and fears. The persistence
that can give a chance to the cen? of the theme may be taken as a
ter, neither left nor right. It may symptom of a chronic ailment
allow a new government program which as yet sees no cure. Herein
the chance to take hold before lies, I suspect, the reason for the
criticizing it, as in the story "Ang fixation in some of our vernacular
Panaw" (The Journey) of Tern Ad stories. There is a fixation of
lawan, an honorable-mention win? theme because there is a fixation
ner, revolving around the conflict in the social structure.
between pro-program and anti We can then view the regional
program in the conservation of literature as symbolic expressions
marine resources. of communal understanding and
In a project of building nation? impulse, communal because com?
al identity, regional literature can mon to the body of works. For ex?
help by offering for scrutiny the ample, the expression of the desire
evasions from and responses to to kill a person in a literary work is
socio-political phenomena. In? a desire to transform the principle
stead of launching a program or which that person represents.
propaganda, which is anathema to When Damian, in the story !Tu
many creative writers, it might be ngang Gabii" (Midnight) by Ros
more profitable to search for the Zapanta, strangles the landowner
regional perceptions of social life who wants to impose a more op?
or change by the lower and sym? pressive system of crop-sharing,
pathizing middle classes to which he is not killing a "father figure,"
our writers belong. From there but a principle of holding land, and

This content downloaded from 130.64.11.153 on Thu, 13 Oct 2016 18:54:28 UTC
All use subject to http://about.jstor.org/terms
318 PHILIPPINE QUARTERLY OF CULTURE & SOCIETY

a way of life which must be trans? MUSEUM COLLECTIONS

formed, if a new life is to become
possible. And when the plot
recurs in other stories, it says
something, not just of the lack of
imagination. In the same manner,
idealized romantic renditions of
rural life do not have to be con?
demned as juvenile and simplistic.
They may be so on the surface.
The Ethics and Standard Com?
But if they persist in our literature,
they should be seen as a symbolic mittee of the Association of Art
expression of a subconscious Museum Directors states that "the
desire to return to an old social or
moral order.
With this approach to the read?
ing of the literature of our region
followed by a comparative reading
of other regional literatures, we
might arrive at modes of action
towards economic recovery and
social reconciliation. Such modes
would be coming not from the
policy-makers above but from
below. Tedious? Maybe, but like
the national language, national
identity cannot be legislated. It
has to come out slowly by itself.
AND INFORMATION DIS?
SEMINATION
Mary Jane Calderon
Curator, University Museum
University of San Carlos
Cebu City
collection exists for the benefit of
present and future generations; it
should be as easily accessible as is
consistent with the safety of the
individual object" (Malaro 1985).
There has been a growing
realization that the public needs to
have access to the kind of informa?
tion which a museum collection
can offer, whether they be re?
searchers and scholars, the
general public, or teachers and
students (Orna 1982). The
museum will do this not just by
exhibiting collections but by dis?
seminating information about its
collections.
Bergengren (1978) made a
"catalogue" of the types of infor?
mation available in a museum.
These are: 1) information on
museum items, 2) bibliographical
guides, 3) information on pictures
and photographs, 4) information
on archives and records, 5) infor

This content downloaded from 130.64.11.153 on Thu, 13 Oct 2016 18:54:28 UTC
All use subject to http://about.jstor.org/terms