Bicol literature

Mula sa Wikipedia, ang malayang ensiklopedya

Si Dr. Maria Lilia Fuentebella Realubit (Oktobre 22, 1930 - 17
Agosto 2017) ay isang Bikolanang manunulat na dating propesor
ng Kolehiyo ng Edukasyon ng Unibersidad ng Pilipinas at
nakatanggap ng Masirang na Bituon kan Kabikolan (Gawad para
sa Tagumpay ng Buhay) sa unang Premio Tomas Arejola para sa
Literaturang

Bikolnon noong 2004. Siya ang bumuo ng Kabulig Bikol at Bikol Heritage Society,
Inc.

Kabilang sa mga naisulat niya ay ang pagsalin niya sa Ingles ng obrang

pangkalinangan ni Mariano Goyena del Prado ang Ibalon: Ethnohistory of the Bikol
Region (1983) (Ibalon: Monografia historica de la region bicolana), Bikols of the
Philippines (1984) , Bikol Dramatic Tradition (1989), Haliya Anthology of Bikol
Poets and Poems (2004), Bikol Literary Histor(2004) at Jose T. Fuentebella:
Nationalist and Statesman (2004). Noong Pebrero 2011, nilunsad niya ang
kaniyang Bikol Poetry Galore At Last A Report, isang pagpuna sa mga
bagong rawitdawit o panulaan.
Mula sa Wikipedia, ang malayang ensiklopedya
Maria Lilia Fuentebella Realubit

Trabaho Guro, maununulat, kritiko

Wika Ingles
Nasyonalidad Filipino
Etnisidad Bikolano
Kaurian Pagsasaling-wika
(Mga) Bikols of the
kilalang gawa Philippines (1984); Bikol
Literary History (2004)
(Mga) Masirang na Bituon kan
parangal Kabikolan; Premio Tomas
Arejola para sa Literaturang
Bikolnon

Si Dr. Maria Lilia Fuentebella Realubit[1] (Oktobre 22, 1930 - 17 Agosto 2017) ay
isang Bikolanang manunulat na dating propesor ng Kolehiyo ng Edukasyon
ng Unibersidad ng Pilipinas at nakatanggap ng Masirang na Bituon kan
Kabikolan (Gawad para sa Tagumpay ng Buhay) sa unang Premio Tomas Arejola
para sa Literaturang Bikolnon noong 2004. Siya ang bumuo ng Kabulig Bikol
at Bikol Heritage Society, Inc.[2]

Kabilang sa mga naisulat niya ay ang pagsalin niya sa Ingles ng obrang

pangkalinangan ni Mariano Goyena del Prado ang Ibalon: Ethnohistory of the Bikol
Region (1983) (Ibalon: Monografia historica de la region bicolana),[3] Bikols of the
Philippines (1984) [4], Bikol Dramatic Tradition[5] (1989), Haliya Anthology of
Bikol Poets and Poems (2004), Bikol Literary History[6] (2004) at Jose T.
Fuentebella: Nationalist and Statesman [7](2004).[8] Noong Pebrero 2011, nilunsad
niya ang kaniyang Bikol Poetry Galore At Last A Report[9], isang pagpuna sa mga
bagong rawitdawit o panulaan.

Mariano Perfecto (1853 - November 3, 1913) was the fifth

Governor of Ambos Camarines (1910–1913). Known as a prolific
writer, he is considered as the "Father of Bikol Literature," and the
"Father of Bisayan Literature." He published the first newspaper in
the Bikol language, An Parabareta (1899–1900) and set up the first
printing press in the Bikol region, the Libreria y Imprenta Mariana.
His literary output ranged from translations of religious tracts,
novenas to poems, short dramas and linguistic works both in
the Ilonggo and Bikol languages.
Salvador Pons, an Augustinian friar, stated in one of his works
(Sacerdotes Del Clero Secular Filipino Escritores. 1900) that
Perfecto was a secular priest and likewise Fr. Pablo Fernandez in his book History of
the Church in the Philippines (1521-1898) said the same thing but the source he cited
was the same Augustinian friar.[1]

Armenta Sabas

Si Armenta Sabas (5 Enero 1879 - 19 Sept. 1949 ) sarong Bikolanong parasurat asin
an kagsurat kan Comedia ni Hadeng Grimaldo sa Reinong Irlanda.
Nagadal sa Seminario Conciliar de Nueva Caceres asin haros magin padi na kundi
nagluwas ta susog sa aki niyang si Florencia, "iirikan na sanang gayo."
 Maray magsurat sa Bikol asin Kastila man, binikol niya an Noli Me Tangere, El
Filibusterismo asin Mi Ultimo Adios, gabos mga tokda' ni Jose Rizal. Apisyon an
magsurat, siya nagtokda' man nin mga rawitdawit, mga drama, asin mga plusa.
Nagin siyang sekretaryo ki Padre Feliciano Puertollano, an kura paroko
kan Magarao, Camarines Sur kan mga panahon na idto.
Sarong abilidad pa niya, romdom kan aki niya, iyo an pagbabahon sarong soanoy na
kaugalean sa Magarao kun namamalahi an pamilyang kaglalaki sa pamilya kan babae.
An parabahon iyo an kwenta parataram kan kaglalaki na katampad man
an parabahon kan kagbabae. Sindang duwa iyo an enot na nagoolay-olay sa
pagsabatan kan duwang pamilya asin an gabos na ingi'nu'nguso anas inaagi sa
rawitdawit. Igdi sa bagay na ini, mahusay an ama niya, sabi ni Florencia.
Sabi kan aki niyang si Florencia, siya aktibo sa mga aktibidades sa banwaan asin hilig
magtokdo' sa mga aki asin sa mga gurang pa ngane na gustong makanood. Madonong
asin maki-amigohon, siya midbid kan mga prominenteng tawo sa Magarao saka sa
Naga.
Kan idinapit siya sa paglubong, kadakulon an nakilubong ta siya binibisto na saro sa
lataw na tawo asin apresyadong gayo kan banwaan.

Asisclo Jimenez
Asisclo Jimenez
Add languages
 Pahina
 Urulay
 Basáhon
 Liwaton
 Baguhon an source
 Tanawon sa historiya
Mga kagamitan

Si Asisclo Jimenez (Mayo 1, 1909 - Oktobre 15, 1961) sarong pulitiko asin parasurat.
[1] Sya nagin alkalde kan banwaan nin Sorsogon asin bantog na gayo
bilang parasurat nin mga zarzuela kan panahon niya. Sobra sa 25 zarzuela an tinokda
ni Jimenez, kadaklan komentaryo kan buhay-buhay sa banwaan asin saro kaini iyo an
zarzuelang tituladong Pagkamoot sa Banuang Tinoboan.[

Manuel Fuentebella
Manuel T. Fuentebella was the Member of the Philippine House of
Representatives from Camarines Sur's 2nd District from 1925 to 1931 in
the 7th and 8th Philippine Legislature. He is a great orator, writer, and composer.
Early life and education[edit]
Manuel Fuentebella was born on October 11, 1889, in Sagñay, Ambos Camarines to
then Ambos Camarines Governor Mariano Fuentebella and Perpetua Tria. His brother
was former legislator ambassador and foreign affairs adviser Jose Fuentebella. He
graduated from the University of Santo Tomas medical school and practiced medicine
in his hometown of Sagñay.

Angelo Castro Jr.

Angelo Ylagan Castro Jr. (March 6, 1945[1] – April 5, 2012) was
a Filipino broadcast journalist and actor.[2] He was a news anchor for The World
Tonight, the flagship news program of ABS-CBN and ANC.[3] He anchored
several ABS-CBN and ANC news and current events programs for the past 25 years.
[4] Castro is a recipient of the Ka Doroy Broadcaster of the Year award from
the Kapisanan ng mga Brodkaster ng Pilipinas.

Pampango literature
Anselmo Jorge Fajardo
Padre Anselmo Jorge Fajardo is a famous writer in the Philippines. Considered the
Father of Kapampangan Literature. He is the author of Moro-Morong Vida de
Gonzalo de Cordova
 Mariano Proceso Byron
Pabalan
Mar·yá·no Pro·sé·so Báy·ron Pa·ba·lán) is considered the "Father of Kapampangan

Sarsuwelang" and above all, because of Ing Managpe ("The Tagatagpi," or the áso in

the play Managpe), is considered the first sarsuela in Kapampangan and in any

indigenous language in the Philippines. It was performed at the Teatro Sabina in

Bacolor on 13 September 1900, with music by Amado Guetierrez David, and

published by Cornelio Pabalan Byron in May 1909.

In Ing Managpe, Juana is thinking of divorcing her husband Diego because she

suspects he has another woman. His proof was a handkerchief found under the couch.

Sianang, the couple's maid, came and told him this and promised to fix (or patch up)

the couple's trouble. When Juana left, Pablo arrived, also a maid and Sianang's secret

lover. While they were exchanging sweet words, Diego came suddenly and Pablo hid

under the couch. When Diego asked what caused the rustling in the house, Sianang

said that the dog Managpe was the cause. But, Pablo suddenly sneezes and the lovers

get sick. While Diego scolded the maids, Juana went home and Don Diego scolded

her for the lack of order in the house due to his jealousy. The play ends with the

characters apologizing for the chaotic outcome of their lives.

Mariano Pabalan was born in Bacolor, Pampanga on July 2, 1862, son of Potenciano

Pabalan and Dorotea Byron, and died on January 1, 1904. He studied at the University
of Santo Tomas and when he returned to his hometown he built a school and taught

Spanish , Latin and English. He was also part of the first Kapampangan newspapers

and became a Katipunero. Ambrosia Linagco is his wife who is also from Bacolor.

Most of Pabalan's works are centered on the family problems and customs of the

Kapampangans except for Ing Bakulud Kanitang Ya Ing Junio 4, 1898 (What

Happened in Bacolor on June 4, 1898). In the songs Alang Utang a e Sana Mibayaran

(No Unpaid Debt) and Ding Amazonas (The Amazons) he applied the music himself.

Juan Crisostomo

Juan Crisostomo "Crissot" Caballa Soto was born in Santa Ines,

Bacolor, Pampanga on 27 January 1867. He is called the Father of
Capampangan Literature. His excellence in poetry in the
Capampangan language is exceptional, so poetry in the
Capampangan language is called Crissotan, which is equivalent to
Balagtasan in Tagalog. He is a writer-poet, playwright and editor in
the Kapampangan language. As a playwright, he wrote Moro-moro
and sarzuela. The result of his pen is the sarsuel Metung a Perla
Quing Burac (A Pearl in the Mud) and Pula't Puti. The Moro-
morongs Sultana, Perla, Zapire and Rubi were written by him during
the last years of the Spanish era. He used pen-symbols such as
Crissot, Rubi,
Natis Belen and Vitaliano in his poems. Julio Agosto and Lacan Batbat in his
articles.
He also wrote a play based on Shakespeare's Romeo and Juliet and titled Ing
Pamaquiasaua

Ning Mete (The Marriage of the Dead). Sigalot is the best of his works. He wrote
this in prison. He also wrote an English-Spanish-Pampango Dictionary with the help
of Modesto Joaquin. Alang Dios is the outstanding sarsuela of Juan Crisostomo Soto
who begged him for money. It was staged at Teatro Zabina. The one-act comedy
 titled Nanu Tang Male Cu (What is Malay Ko) was the last thing he wrote when he
was on the bed of illness. He lost his life on 12 July 1918 due to heart disease.

Ilokano
literature.
marcelino foronda jr
Among his publications are: A Filipiniana Bibliography, 1743-
1982, Manila, 1983; Oral History in the Philippines and Other
Historical Essays, Manila, 1979; America is in the Heart: Ilokano
Immigration to the United States, 1906-1930, Manila, 1976;
Kutibeng: Philippine Poetry in Iloko, Manila, 1976; Cultural Life
in the …

Pedro Bucaneg

Pedro Bucaneg (March 1592 – c. 1630) was a Filipino poet. He is considered the
"Father of Ilocano literature." Blind since birth, he is the believed to have authored of
parts of the Ilocano epic Biag ni Lam-ang (Life of Lam-ang).[1] A street inside the
Cultural Center of the Philippines (CCP) complex in Pasay, Philippines is named in
his honor. His surname is lent to the Bucanegan, the Ilocano equivalent of
the Balagtasan.[2]
Biography[edit]
Bukaneg was a foundling, who shortly after his birth already floating in a basket
between Bantay and Vigan in the Banaoang River was found by an old woman. They
brought him to the Bantay Augustiner priest who baptized him as Pedro Bucaneg.
Bukaneg was sent to the Augustinian convent in Manila to further his theological and
cultural studies.[3] He took lessons in Latin and Spanish and also learned the local
languages and Ilocano Isneg.
Through his knowledge of these languages, he was asked by the priests in the region
to translate their prayers and sermons in local languages. He was being asked to help
with the conversion of the local population. Bukaneg composed poems and songs and
was loved by the Ilocanos as a troubadour. He was regarded by the locals as a seer.
Even the Spaniards knocked him for his services. He would have identified the killer
of a servant of a Spaniard on a day in a row of Itneg men by placing his hand on the
chest of all these men.
His blindness prevented him to write. He dictated his poems, songs and translations,
while someone else wrote. Ilocano epic Biag ni Lam-ang is attributed to Bukaneg by
some authors and historians. It is also possible that the works of Bukaneg was sung
for centuries by the Ilocano and thus preserved it for eternity. It was also Bukaneg
who translated the Doctrina Cristiana in Ilocano. This book was printed in 1593 as
one of the first books in the Philippines and was intended for use in the conversion of
the local population. In 1621 the Ilocano translation of Bukaneg was printed in the
Augustinian Convent of Manila. Bukaneg was also largely responsible for Arte de la
Lengue Iloca, the first grammar book of the Ilocano of Brother Francisco Lopez,
which was printed in 1627[4] by the University of Santo Tomas.

Isabelo de los
Reyes
Isabelo de los Reyes Sr. y Florentino, also known as Don
Belong (July 7, 1864 – October 10, 1938), was a
prominent Filipino patriot, politician, writer, journalist, and
labor activist in the 19th and 20th centuries. He was the
original founder and proclaimer of the Iglesia Filipina Independiente, the first-ever
Filipino independent Christian Church in history in the form of a nationalist church,
which was proclaimed in 1902. He is popularly known today as the "Father of
Philippine Folklore", the "Father of the Philippine Labor Movement",[1] and the
"Father of Filipino Socialism".[2]
As a young man, de los Reyes followed his mother's footsteps by initially turning to
writing as a career; his works were part of the 1887 Exposicion General de las Islas
Filipinas in Madrid.[3]: 258 He later became a journalist, editor, and publisher
in Manila, and was imprisoned in 1897 for revolutionary activities. He was deported
to the Kingdom of Spain, where he was jailed for his activities until 1898. While
living and working in Madrid, he was influenced by the writings of European
socialists and Marxists.
Returning to the Philippines in 1901, de los Reyes founded the first labor
union federation in the country in 1902. He also was active in seeking independence
from the United States. After serving in the Philippine Senate in the 1920s, he settled
into private life and religious writing. De los Reyes wrote on diverse topics in history,
folklore, language, politics, and religion.[3]: 255 He had a total of 27 children with
three successive wives from getting widowed each time; he survived all his wives.

 Short story - poor imition of america fiction but later developed into less
verbose
More tight and with more credible characterization

 Drama-static only zarzuela and comedia persisted

Stages of ilocano poetry:

 Themes :love of country and freedom beauty of nature and of women faith
and the
virtues of the ilocano .

 Traditionalist-fixed nation of poetry and resist change.

 Avant-garde-knowledgeable about poetry in other parts of the world

 New school-those who are in between

 Ilocano-poetry
 Bukanegan-(20th century)-delivered in honor fiesta queen

 Leon c. pichay-king of ilocano poets

 Bannawag-is the only outlet open to ilocano writters

Hilagaynon literature

Hiligaynon
Hiligaynon, also often referred to as Ilonggo or Binisaya/Bisaya nga
Hiniligaynon/Inilonggo, is an Austronesian regional language spoken in
the Philippines by about 9.1 million people, predominantly in Western
Visayas and Soccsksargen, most of whom belong to the Hiligaynon people.[4] It is
the second-most widely spoken language in the Visayas and belongs to the Bisayan
languages, and it is more distantly related to other Philippine languages.
It also has one of the largest native language-speaking populations of the Philippines,
despite it not being taught and studied formally in schools and universities until 2012.
[5] Hiligaynon is given the ISO 639-2 three-letter code hil, but has no ISO 639-1 two-
letter code.
Hiligaynon is mainly concentrated in the regions of Western
Visayas (Iloilo, Capiz, Guimaras, and Negros Occidental), as well as in South
Cotabato (including General Santos), Sultan Kudarat, and North
Cotabato in Soccsksargen. It is spoken in other neighboring provinces, such
as Antique and Aklan in Western Visayas, Negros Oriental in Central
Visayas, Masbate in Bicol Region, and southern parts
of Mindoro, Romblon and Palawan in Mimaropa.
It is spoken as a second language by Kinaray-a speakers
in Antique, Aklanon/Malaynon speakers in Aklan, Capiznon speakers
in Capiz, Cebuano speakers in Negros Oriental,[6] and spoken and understood by
native speakers of Maguindanaon, Cebuano, Ilocano, Blaan, Tboli and other settler
and indigenous languages in Soccsksargen in Mindanao.[7] There are approximately
9,300,000 people in and out of the Philippines who are native speakers of Hiligaynon
and an additional 5,000,000 capable of speaking it with a substantial degree of
proficiency.[8]
Nomenclature[edit]
The Water cycle diagram in Hiligaynon.
Aside from Hiligaynon, the language is also referred to as Ilonggo, also
spelled Ilongo, as it originated in Iloilo. Many speakers outside Iloilo argue, that this
is an incorrect usage of the word Ilonggo. In precise usage, these people opine
that Ilonggo should be used only in relation to the ethnolinguistic group of native
inhabitants of Iloilo and the culture associated with native Hiligaynon speakers in that
place, including their language. The disagreement over the usage of Ilonggo to refer
to the language extends to Philippine language specialists and native laypeople.[9]
Historically, the term Visayan had originally been applied to the people of Panay. In
terms of language, Visayan is more used today to refer to what is known as Cebuano.
As pointed out by H. Otley Beyer and other anthropologists, the term Visayan was
first applied only to the people of Panay and to their settlements eastward in the island
of Negros, especially its western portion, and northward in the smaller islands, which
now compose the province of Romblon.[10]
At the early part of Spanish Colonization in the Philippines, the Spaniards used the
term Visayan only for these areas. While the people of Cebu, Bohol and Leyte were
for a long time known only as Pintados. The name Visayan was later extended to
these other islands because, as several of the early writers state, their languages are
closely allied to the Visayan dialect of Panay.[11]
History[edit]
Historical evidence from observations of early Spanish explorers in the Archipelago
shows that the nomenclature used to refer to this language had its origin among the
people of the coasts or people of the Ilawod ("los [naturales] de la playa") in Iloilo,
Panay, whom Spanish explorer Miguel de Loarca called Yligueynes[12] (or the more
popular term Hiligaynon, also referred to by the Karay-a people as Siná).
The term Hiligaynon came from the root word ilig ('to go downstream'), referring to a
flowing river in Iloilo. In contrast, the Kinaray-a has been used by what the Spanish
colonizers called Arayas, which may be a Spanish misconception of the Hiligaynon
words Iraya or taga-Iraya, or the current and more popular version Karay-
a ('highlanders' – people of Iraya/highlands).[13]
Dialects[edit]
Similar to many languages in the Philippines, very little research on dialectology has
been done on Hiligaynon. Standard Hiligaynon, simply called Ilonggo, is the dialect
that is used in the province of Iloilo, primarily in the northern and eastern portions of
the province. It has a more traditional and extensive vocabulary, whereas the Urban
Hiligaynon dialect spoken in Metro Iloilo has a more simplified or modern
vocabulary.
For example, the term for 'to wander,' 'to walk,' or 'to stroll' in Urban Hiligaynon
is lágaw, which is also widely used by most of the Hiligaynon speakers, whereas in
Standard Hiligaynon, dayán is more commonly used, which has rarely or never been
used by other dialects of the language. Another example, amó iní, ('this is it') in
Standard Hiligaynon can be simplified in Urban Hiligaynon and become 'mó'ní.
Some of the other widely recognized dialects of the language, aside from Standard
Hiligaynon and Urban Hiligaynon, are Bacolodnon Hiligaynon (Metro
Bacolod dialect), Negrense Hiligaynon (provincial Negros Occidental dialect that is
composed of three sub-variants: Northern, Central and Southern Negrense
Hiligaynon), Guimaras Hiligaynon, and Mindanao Hiligaynon (which incorporated
some Cebuano and other languages due to the mass influx of migrants
from Cebu, Bohol, Siquijor and Cebuano-speaking parts of Mindanao reside in the
Soccsksargen area). [14]
Hiligaynon, also often referred to as Ilonggo or Binisaya/Bisaya nga
Hiniligaynon/Inilonggo, is an Austronesian regional language spoken in
the Philippines by about 9.1 million people, predominantly in Western
Visayas and Soccsksargen, most of whom belong to the Hiligaynon people.[4] It is
the second-most widely spoken language in the Visayas and belongs to the Bisayan
languages, and it is more distantly related to other Philippine languages.
It also has one of the largest native language-speaking populations of the Philippines,
despite it not being taught and studied formally in schools and universities until 2012.
[5] Hiligaynon is given the ISO 639-2 three-letter code hil, but has no ISO 639-1 two-
letter code.
Hiligaynon is mainly concentrated in the regions of Western
Visayas (Iloilo, Capiz, Guimaras, and Negros Occidental), as well as in South
Cotabato (including General Santos), Sultan Kudarat, and North
Cotabato in Soccsksargen. It is spoken in other neighboring provinces, such
as Antique and Aklan in Western Visayas, Negros Oriental in Central
Visayas, Masbate in Bicol Region, and southern parts
of Mindoro, Romblon and Palawan in Mimaropa.
It is spoken as a second language by Kinaray-a speakers
in Antique, Aklanon/Malaynon speakers in Aklan, Capiznon speakers
in Capiz, Cebuano speakers in Negros Oriental,[6] and spoken and understood by
native speakers of Maguindanaon, Cebuano, Ilocano, Blaan, Tboli and other settler
and indigenous languages in Soccsksargen in Mindanao.[7] There are approximately
9,300,000 people in and out of the Philippines who are native speakers of Hiligaynon
and an additional 5,000,000 capable of speaking it with a substantial degree of
proficiency.[8]
The Water cycle diagram in Hiligaynon.
Aside from Hiligaynon, the language is also referred to as Ilonggo, also
spelled Ilongo, as it originated in Iloilo. Many speakers outside Iloilo argue, that this
is an incorrect usage of the word Ilonggo. In precise usage, these people opine
that Ilonggo should be used only in relation to the ethnolinguistic group of native
inhabitants of Iloilo and the culture associated with native Hiligaynon speakers in that
place, including their language. The disagreement over the usage of Ilonggo to refer
to the language extends to Philippine language specialists and native laypeople.[9]
Historically, the term Visayan had originally been applied to the people of Panay. In
terms of language, Visayan is more used today to refer to what is known as Cebuano.
As pointed out by H. Otley Beyer and other anthropologists, the term Visayan was
first applied only to the people of Panay and to their settlements eastward in the island
of Negros, especially its western portion, and northward in the smaller islands, which
now compose the province of Romblon.[10]
At the early part of Spanish Colonization in the Philippines, the Spaniards used the
term Visayan only for these areas. While the people of Cebu, Bohol and Leyte were
for a long time known only as Pintados. The name Visayan was later extended to
these other islands because, as several of the early writers state, their languages are
closely allied to the Visayan dialect of Panay.[11]
History[edit]
Historical evidence from observations of early Spanish explorers in the Archipelago
shows that the nomenclature used to refer to this language had its origin among the
people of the coasts or people of the Ilawod ("los [naturales] de la playa") in Iloilo,
Panay, whom Spanish explorer Miguel de Loarca called Yligueynes[12] (or the more
popular term Hiligaynon, also referred to by the Karay-a people as Siná).
The term Hiligaynon came from the root word ilig ('to go downstream'), referring to a
flowing river in Iloilo. In contrast, the Kinaray-a has been used by what the Spanish
colonizers called Arayas, which may be a Spanish misconception of the Hiligaynon
words Iraya or taga-Iraya, or the current and more popular version Karay-
a ('highlanders' – people of Iraya/highlands).[13]
Dialects[edit]
Similar to many languages in the Philippines, very little research on dialectology has
been done on Hiligaynon. Standard Hiligaynon, simply called Ilonggo, is the dialect
that is used in the province of Iloilo, primarily in the northern and eastern portions of
the province. It has a more traditional and extensive vocabulary, whereas the Urban
Hiligaynon dialect spoken in Metro Iloilo has a more simplified or modern
vocabulary.
For example, the term for 'to wander,' 'to walk,' or 'to stroll' in Urban Hiligaynon
is lágaw, which is also widely used by most of the Hiligaynon speakers, whereas in
Standard Hiligaynon, dayán is more commonly used, which has rarely or never been
used by other dialects of the language. Another example, amó iní, ('this is it') in
Standard Hiligaynon can be simplified in Urban Hiligaynon and become 'mó'ní.
Some of the other widely recognized dialects of the language, aside from Standard
Hiligaynon and Urban Hiligaynon, are Bacolodnon Hiligaynon (Metro
Bacolod dialect), Negrense Hiligaynon (provincial Negros Occidental dialect that is
composed of three sub-variants: Northern, Central and Southern Negrense
Hiligaynon), Guimaras Hiligaynon, and Mindanao Hiligaynon (which incorporated
some Cebuano and other languages due to the mass influx of migrants
from Cebu, Bohol, Siquijor and Cebuano-speaking parts of Mindanao reside in the
Soccsksargen area). [14]

Hinilawod
Hinilawod is an epic poem orally transmitted from early inhabitants of a place called
Sulod in central Panay, Philippines. The term "Hinilawod" generally translates to
"Tales From The Mouth of The Halawod River". The epic must have been commonly
known to the Visayans of Panay before the conquest, since its main protagonists, like
Labaw Donggon, were noted in the accounts of the Islanders' beliefs and recorded by
early Spanish colonizers.[1] One of these Westerners' accounts says that the
adventures of this ancient hero of Panay were recalled during weddings and in songs.
[2] It was noted that there were still native Mundos of Dingle, Iloilo who worshipped
Labaw Donggon even during the last years of the Spanish rule in the Philippines.
These worshippers would stealthily enter a certain cave in Dingle in the evening of a
certain day of the year, in order to render homage and to offer chickens, doves, rice,
bananas, and pigs to the ancient Visayan god.[1]
Discovery[edit]
Hinilawod was first discovered "by accident" in 1955,[3] when
Filipino anthropologist F. Landa Jocano became interested in native folklore. He
travelled the hinterlands of his home island of Panay with two colleague,s collecting
folk songs, stories, and riddles. It was during one of those trips to the upland barrios
of Lambunao, Maasin, Janiuay, and Calinog in Iloilo that his attention was called to a
long and popular tale called Hinilawod. Sections of the narrative were melodically
conveyed to him and his associate by an elderly individual known as Ulang Udig.
Returning the following year with a radio technician from Central Philippine
University, he then recorded a portion of the story on tape in 1956. However, when he
returned, in 1957 to make a recording of the complete story, Ulang Udig could only
recount the Epic of Labaw Donggon; he could no longer recount the much larger Epic
of Humadapnon. Weeks later, Ulang Udig introduced Jocano to his aunt, an old
babaylan named Udungan. However, the old babaylan could only chant little portions
of the Humadapnon Epic. Jocano was then introduced to Udungan's niece, mountain
singer named Hugan-an, who, after much cajoling, allowed herself to be taped
recounting both her story and the Hinilawod. It took three weeks to complete the
recording of the 30-hour epic poem.
Plot[edit]
Hinilawod recounts the story of the exploits of three Suludnon demigod brothers:
Labaw Donggon, Humadapnon, and Dumalapdap of ancient Panay.
"Hinilawod" is an epic poem originating from the Visayas region in the Philippines.
Composed by the Sulod people, it is a narrative that encapsulates the rich oral
tradition and cultural heritage of the region. The story unfolds over several cantos,
primarily focusing on the hero, Humadapnon, and his epic quest to win the love of the
beautiful maiden, Nagmalitong Yawa.
The plot of "Hinilawod" delves into the supernatural realm, with encounters with
powerful deities and mythical creatures, such as the powerful god Labaw Donggon,
who aids Humadapnon on his journey. Throughout the narrative, the hero faces
numerous trials and challenges, including battles with fierce monsters and competing
suitors for Nagmalitong Yawa's affections.
Ultimately, Humadapnon's unwavering determination, bravery, and the assistance of
divine beings lead to his success in winning Nagmalitong Yawa's heart. The epic
concludes with a triumphant return to their homeland, celebrating the hero's victory,
and reinforcing the values of courage, love, and the enduring spirit of Visayan culture.
"Hinilawod" stands as a testament to the rich and vibrant tradition of Philippine epics,
preserving the cultural heritage and storytelling prowess of the Sulod people while
captivating readers with its captivating plot and timeless themes.[4]
Alunsina and Datu Paubari[edit]
Kaptan, king of the Gods, decreed that the beautiful Alunsina (also called Laun Sina,
"Unmarried One") be wed upon reaching maidenhood. Though all the unmarried gods
from every corner of the universe tried to win her hand in marriage, she chose to
marry the mortal Datu Paubari, ruler of the Halawod.
Angered by this decision, Alunsina's spurned suitors conspired to harm the newlywed
couple. Maklium-sa-t'wan, God of the Plains, called a council of the gods. The deities
decided to destroy the Halawod by flood.
Fortunately for Alunsina and her husband, her sister Suklang Malayon (Goddess and
Guardian of Happy Homes) discovered the evil plot and warned them of it. Before the
flood, the couple sought refuge on higher ground and escaped the gods' wrath
undetected. They returned to the plains and settled near the mouth of the Halawod
after the floods subsided and lived in secrecy.
After several months, Alunsina was pregnant with triplets. The couple were ecstatic,
and Datu Paubari prepared the things needed for childbirth including the siklot. When
the triplets were born, the couple named them Labaw Dongon, Humadapnon, and
Dumalapdap.
Immediately after birthing her sons, Alunsina summoned the high priest Bungot-
Banwa to perform rites on Mount Madya-as to ensure good health for the triplets.
Bungot-Banwa burned some alanghiran fronds along with a pinch
of kamangyan (incense) on an altar that he had built. He opened the windows of the
north side of the room after the ceremony, and in came a cold wind that transformed
the infants into strong, mighty, and handsome young men.
The adventures of Labaw Donggon[edit]
When he reached adulthood, Labaw Donggon, the eldest of the triplets, decided to go
on a quest to find himself a wife. He heard of the beauty of Anggoy Ginbitinan of
Handug and wanted her for a wife. He asked his mother to prepare the things he will
need for the journey—a magic cape, hat, belt, and kampilan (a large, two-handed
sword).
The journey to Handug took several days through plains, valleys, and mountains.
When Labaw Donggon finally arrived, he asked for an audience with Anggoy
Ginbitinan's mother and asked for her hand in marriage. The marriage was finalized
when Labaw Donggon's parents met and discussed with Anggoy Ginbitinan's parents.
Using his pamlang (magical charm), Labaw Donggon effortlessly conjured a giant
house with ten rooftops and a hundred doors.
After their wedding, Labaw Donggon and his new bride started on their journey back
to his lands. Upon reaching home, Labaw Donggon asked his mother to care for his
new wife and announced his intent on another quest, this time to the Rugal sa
Idalom (the netherworld) and vie for the hand of the beautiful Anggoy Doronoon.
Labaw Donggon won the hand of the Anggoy Doronoon with little difficulty, and also
took her home to his mother. Thereafter, the demigod went on third quest to the
Eastern Sky. This time the object of his desire is Malitong Yawa Sinagmaling Diwata,
the young bride of Saragnayan, the Lord of Darkness.
Aboard his biday nga inagta (black boat), Labaw Donggon sailed across many seas
and flew across the region of the clouds and the Land of Stones before he found
himself at the shores of the Eastern Sky and the fortress of Saragnayan. Upon setting
foot on the shore, Saragnayan asked who he was and what was his business. When
Labaw Donggon expressed his desire to have Saragnayan's young wife Malitong
Yawa Sinagmaling Diwata, the Lord of Darkness laughed and told him it was
impossible. The young demigod then challenged Saragnayan to a duel.
The duel lasted for years. Labaw Donggon held Saragnayan's head underwater for
seven years but Saragnayan survived. Labaw Donggon then tied Saragnayan to the
top of a rock and beat him hard with a coconut trunk, but this proved futile. Labaw
Donggon then hurled Saragnayan upwards towards the sky, yet failed to kill him. The
two fought for many years until finally, Labaw Donggon weakened. Saragnayan
imprisoned the exhausted demigod under his pig pen.
Meanwhile, Labaw Donggon's two wives each gave birth to a son. Anggoy Ginbitinan
called her child Aso Mangga, while Anggoy Doronoon called her son Buyung
Baranugon. Both sons went in search of their father a few days after they were born.
They arrived in the Eastern Sky and asked Saragnayan to free their father. Saragnayan
instead summoned a host of minions from the underworld to defeat the youths.
Wielding bows, Aso Mangga and Buyung Baranugon shot poisoned arrows, that dealt
seven wounds with a single shot, slaying the rest until only Saragnayan remained.
Saragnayan wrestled with Buyung Baranugon, but the Lord of Darkness was no
match for him. However, Saragnayan could still not die. Buyung Baranugon sought
aid from his grandmother, Alunsina, and learned that Saragnayan's life was housed in
the body of a boar in a place called Paling Bukid. The sons then killed the boar and
ate its heart, rendering Saragnayan mortal.
Sensing that death was near, Saragnayan bade a sorrowful farewell to his wife.
Buyung Baranugon finally killed Saragnayan by jabbing poisoned arrows into both of
Saragnayan's eyes. After the victory, Buyung Baranugon and Aso Mangga failed to
find their father, who hid under a fishnet out of fear during the battle. Believing their
father to have returned home before them, the brothers sailed home only to realize
that Labaw Donggon was still missing.
Humadapnon and Dumalapdap then searched for their missing brother, finding Labaw
Donggon under the fishnet in a deranged state. Labaw Donggon's brothers returned
him home to his wives. Anggoy Ginbitinan and Anggoy Doronoon cured Labaw
Donggon from his madness and his former strength returned to him.
The adventures of Humadapnon[edit]
Meanwhile, the defeat of Labaw Donggon at the hands of Saragnayan and his
subsequent imprisonment angered his brothers Humadapnon and Dumalapdap.
Humadapnon swore by the gods of Madya-as that he would seek revenge on all of
Saragnayan's kinsmen and followers. He then embarked on a journey to the Eastern
Sky, taking with him Buyong Matanayon of Mount Matiula, a man known for his
exceptional swordsmanship. Together, they travelled the same path that Labaw
Donggon had taken.
After seven months in Tarambang Buriraw, Buyong Matanayon recalled that they
brought some ginger with them. He thought of a plan to break Piganun's spell over his
friend. One evening over dinner, Buyong Matanayon threw seven slices of ginger into
the fire. Upon smelling the burning ginger, Piganun fled the room. Buyong
Matanayon then struck Humadapnon in the head, rendering the latter unconscious. He
then dragged his body away from the place and managed to escape.
Humadapnon rose to the challenge and took off his magic cape. He then used it to lift
the huge boulder off the center of the village and hurled it back towards the mountain.
Datu Umbaw Pinaumbaw honored his word and gave his daughter's hand in marriage
to Humadapnon. The two were married and a big feast was held. During the banquet,
a guest minstrel sang and extolled the beauty of Burigadang Pada Sinaklang Bulawan,
Goddess of Wealth and Greed. Enchanted by the story, Humadapnon started on a
quest to seek the goddess' hand in marriage.
He met Buyong Makabagting, son of the Datu Balahidyong of Paling Bukid, who was
also vying for the hand of Burigadang Pada Sinaklang Bulawan. The two duelled and
Humadapnon emerged victorious, the defeated Buyong Makabagting helping the
former in his quest. Humadapnon eventually married Burigadang Pada Sinaklang
Bulawan and brought her home to his mother.
Below are verses from the first two stanzas of the second part of Sugidanun I (First
Narration) of the Sulodnon epic Hinilawod: Adventures of Humadapnon chanted
by Hugan-an and recorded by Dr. F. Landa Jocano. The epic is in the original
Sulodnon language.[5]

Ambahan
Ambahan is a traditional form of poetry by the Hanunó'o Mangyan people
of Mindoro, Philippines.[1]
Characteristics[edit]
The ambahan has several characteristics.[2] First, it is a rhythmic poetic expression
with a meter of seven syllable lines and having rhythmic end-syllables. It is also most
often presented as a chant without a determined musical pitch or musical instrument
accompaniment. Finally, it is meant to express in an allegorical way, liberally using
poetic language, certain situations or certain characteristics referred to by the one
reciting the poem.
The characteristic of the ambahan of having seven syllables in a single line
distinguishes it from other forms of poetry of the Hanunó'o Mangyans. This particular
feature has exceptions; the first part of the ambahan may have more than seven
syllables although this portion may not be considered as the poem proper and only
serves as an introduction. This may be due to the shortage of suitable word
combinations for a certain line or the line could not be further shortened. A line could
also be shorter than seven syllables in order to preserve the meaning of the line which
would have been changed by the addition of syllables although this is rare.[2]
Reading and subjects[edit]
The ambahan is traditionally sung and may focus on various topics such as courtship,
giving advice to the young, asking for a place to stay, and saying goodbye to a friend.
[3]
Preservation[edit]
Ambahan is traditionally recorded on bamboo. It is inscribed in the material using
Surat Mangyan, an indigenous script predating the Spanish colonial era in the
Philippines.[4] Mangyan Poet Ginaw Bilog was recognized for the preservation of his
people's tradition in 1993 who also records the ambahan in a notebook.[3] The mode
of transmission of the poetry prevents the carrier from adding his own content or
modification, ensuring the purity of the poetry.[5]

Ballad
A ballad is a form of verse, often a narrative set to music. Ballads derive from the
medieval French chanson balladée or ballade, which were originally "dance songs".
Ballads were particularly characteristic of the popular poetry and song of Britain and
Ireland from the Late Middle Ages until the 19th century. They were widely used
across Europe, and later in Australia, North Africa, North America and South
America.
While ballads have no prescribed structure and may vary in their number of lines and
stanzas, many ballads employ quatrains with ABCB or ABAB rhyme schemes, the
key being a rhymed second and fourth line. Contrary to a popular conception, it is rare
if not unheard-of for a ballad to contain exactly 13 lines. Additionally, couplets rarely
appear in ballads.
Many ballads were written and sold as single-sheet broadsides. The form was often
used by poets and composers from the 18th century onwards to produce lyrical
ballads. In the later 19th century, the term took on the meaning of a slow form of
popular love song and is often used for any love song, particularly the sentimental
ballad of pop or rock music, although the term is also associated with the concept of a
stylized storytelling song or poem, particularly when used as a title for other media.

SUGBUANON
LITERATURE

 Sugbuanon -dialect that is used in central visaya eastern visiya eastern

mindanaon and the greater part of northern and central mindanao

 Their literature is characterized as abundant and varied

 Oral forms-folk tales sayang song riddles oration and theatricals

 Written forms:poems short stories novels and plays

 Vincent sotto- father of visayas writing

 Sotto ang saya-(the lamp 1926)-where poetry in vernucular first appeared.

 Sotto mameng-the first published short story in sugbuanon

 Poet-dramatist saturio villarino characterizes sugbuanon poetry as adaption

from spanish and english poetry in metrical and rhyming schemes

Type of folk theatricals:

 Balitaw - a comic representation of the love chase in a verse dialogue of
courtship that develops into a wit combat performed in song and dance

 Drama -balitaw - developed from the balitaw in which a story line with
spoken dialogue is woven at least balitaw sequences

 Duplo-a debate in verse with two or more characters

 Balagtas sa balitaw-an incorporation of duplo and balitaw where the

courtship plot becomes a mere framework for an argument on a non-romantic
subject

 Kolilisi-a strictly private type of drama performed by friends and neighboor to

divert a bereaved family from their sorrow. The actors play a king and his
courties who address one another in verse and put a roundel games of verse
recitations

 Bagamundo-a related type of folk play where a vagabond stranger arrives at

the gate of the king and his court into admitting and introucing him to the ladies

 Pamalaye-an old ritual of the formilizing an engagement to marry

LITERATURE
OF
DIFFERENT
REGION

NOREEN
L.MORALES
11-STEM