MODERN SIDAY:

Perpetuating the Literary Heirloom

A MINI LECTURE - WORKSHOP

Mark P. Bonabon
Session Objectives
• acquaint of the history of modern siday writing

• learn the rudiments of modern siday writing

• write modern siday in Ninorte Samarnon

Modern Siday
 “Siday refers to (Waray/Binisaya) poetry in general,
whether favored in tradition or in more
contemporaneous style” (Alunan, et al.).

 The modern siday is termed “new poetry” (kabag-

ohan) [1970 – present] (Alunan, et al.).

 It employs the Western literary aesthetics.

Modern Siday:
A Brief of History
Radyo (dyVL) Siday
 Puplonganon is a program initiated in 1982 by dyVL Aksyon
Radyo, an AM station in Tacloban City.
 Francisca “Babes” Custodio,
the news anchor at first,
read a quotation or
puplonganon (proverb) at the
end of her morning news
broadcast. Later, she invited
her audience to contribute
their own favorite quotes,
but she received entire
UP conferred the Gawad Plaridel 2016 to poems.
Francisca “Babes” Custodio of dyVL.
Radyo (dyVL) Siday
 uses the daily news as pegs or sources of
inspiration for subjects
 functions as commentaries on current
issues
 tends to be declamatory, didactic and
highly opinionated
 makes the poet assume a high moral
ground for the benefit of the public
 is referred to as “ethnographic
memoranda,” more like journalism in
verse
UPTC VisWrite (1983 - 2008)
 UP Tacloban College started holding creative writing
workshops as part of its extension service activities. These
workshops involved four faculty members of the Arts and
Sciences Program, Victor N. Sugbo, William Remollo, David A.
Genotiva, and Merlie M. Alunan.

Victor Sugbo William Remollo David Genotiva Merlie Alunan

Lamiraw (2004 - Present)
 It was established at Tiburcio Tancinco Memorial Institute
of Science and Technology (now Northwest Samar State
University) in Calbayog City.
 It started out as with an active link with the National
Commission for for Culture and the Arts – Commission on the
Literary Arts which became its regular source of funding.

© Phil Harold Mercurio

New Poetics
 It is inspired by Western poetics but still “takes its cue from
the stylistics of world poetry of the last century, and to a
large sense, from the total cultural and psychological milieu
of their own time” (Alunan, 2017).
 Its “aesthetic impact … still hews closer to the concrete
earthiness of universal poetry that we find in the folk, than
to the turgid didactism of the older poets” (Alunan, 2017).
New Waray
Poetry Collections
(2005-Present)
 Merlie M. Alunan, et al. (2005).
“Mga Siday han dyVL.”
 Voltaire Q. Oyzon (2008).
“An Maupay ha mga Waray
ug Iba nga mga Siday.”
 Victor N. Sugbo (2008).
“Inintokan.”
 Phil Harold Mercurio (2010).
“Ayaw Pagpudla an Tuog ug
Iba pa nga mga Siday.”
  Neil Lopido (2010)
“Ha Salog ug Iba pa nga mga Siday.”
 Janis Claire Salvacion (2010).
“Siso Sakradang ug Iba pa nga mga
Siday ha Taguangkan.”
 Victor N. Sugbo (2014).
“Taburos han Dagat.”
 Merlie M. Alunan (2016).
“Our Memory of Water:
Words After Haiyan.”
 Herminigildo Sanchez (2017).
“Hagsi: Mga Haglipot nga Siday.”
 Herminigildo Sanchez (2017).
“Dahon, Tubig, Kalibutan:
Siday Pangkalibungan.”
  Nemesio Baldesco (2017).
“Kawit: Himusan san Siday, Ismayling,
Luwa, Puplunganon ug Titiguhon.”
 Jose Duke Bangulaya (2017).
“Linara nga mga Pulong.”
 Jerry B. Gracio (2017).
“Waray Hiunong sa Gugma.”
  Dave Rondina (2017).
“Dulok: Paglapwas hin mga Siday han
Bagyo Yolanda.”
 Merlie M. Alunan, et al. (2019).
“Pinili: 15 Years of Lamiraw.”
WRITING
MODERN SIDAY*

*Taken from WikiHow but modified to suit the

process and context of writing the modern siday
STARTING
THE SIDAY
1 DO WRITING EXERCISES.
 A poem might start as

o a line or two that seems to come out of nowhere, or

o an image you cannot get out of your head.

 You can find inspiration for your poem by doing writing

exercises and using the world around you. Once you have
inspiration, you can then shape and mold your thoughts into a
poem.
Brainstorming for Ideas
 Try to free write. Grab a notebook or your computer and
just start writing—about your day, your feelings, or how you
don’t know what to write about. Let your mind wander for 5-
10 minutes and see what you can come up with.
Brainstorming for Ideas
 Write to a prompt. Look up poem prompts online or come up
with your own, like “what water feels like” or “how it feels to
get bad news.” Write down whatever comes to mind and see
where it takes you.
Brainstorming for Ideas
 Make a list or mind map of images. Think about a situation
that’s full of emotion for you and write down a list of images
or ideas that you associate with it. You could also write about
something you see right in front of you, or take a walk and
note down things you see.
2 GET INSPIRED BY YOUR ENVIRONMENT
AND THOSE CLOSE TO YOU.
 Inspiration for a great poem is all around you, even if you
don’t see it just yet. Think of every memory, situation, and
moment as a possible topic and you’ll start seeing poetry all
around you!
Finding a Topic
 Go for a walk. Head to your favorite park or spot in the city,
or just take a walk through your neighborhood. Use the
people you see and the nature and buildings you pass as
inspiration for a poem.
Finding a Topic
 Write about someone you care about. Think about someone
who’s really important to you, like a parent or your best
friend. Recall a special moment you shared with them and use
it to form a poem that shows that you care about them.
Finding a Topic
 Pick a memory you have strong feelings about. Close your
eyes, clear your head, and see what memories come to the
forefront of your mind. Pay attention to what emotions they
bring up for you—positive or negative—and probe into those.
Strong emotional moments make for beautiful, interesting
poems.
3 PICK A SPECIFIC THEME OR IDEA.
 You can start your poem by focusing on a specific theme or
idea that you find fascinating or interesting. Picking a
specific theme or idea to focus on in the poem can give your
poem a clear goal or objective.
 This can make it easier for you to narrow down what images
and descriptions you are going to use in your poem.
3 PICK A SPECIFIC THEME OR IDEA.
 For example, you may decide to write a poem around the
theme of “love and friendship.” You may then think about
specific moments in your life where you experienced love and
friendship as well as how you would characterize love and
friendship based on your relationships with others.
 Try to be specific when you choose a theme or idea, as this
can help your poem feel less vague or unclear. For example,
rather than choose the general theme of “loss,” you may
choose the more specific theme, such as “loss of a child” or
“loss of a best friend.”
4 CHOOSE A POETIC FORM.
 Get your creative juices flowing by picking a form for your
poem. There are many different poetic forms that you can
use, from free verse to sonnet to rhyming couplet. You may
go for a poetic form that you find easy to use, such as free
verse, or a form that you find more challenging, such as a
sonnet. Choose one poetic form and stick to that structure
so your poem feels cohesive to your reader.
4 CHOOSE A POETIC FORM.
 You may decide to try a poetic form that is short, such as
the haiku , the cinquain , or the shape poem . You could then
play around with the poetic form and have fun with the
challenges of a particular form.

 You may opt for a form that is more funny and playful. Or
you may go for a more lyrical form like the sonnet, the
ballad, or the rhyming couplet for a poem that is more
dramatic and romantic.
5 READ EXAMPLES OF POETRY.
 To get a better sense of what other poets are writing, you
may look through examples of poetry. You may read poems
written in the same poetic form you are interested in or
poems about themes or ideas that you find inspiring. You may
also choose poems that are well known and considered
“classics” to get a better sense of the genre.
 PAGLABA ni Voltaire Q. Oyzon
Katima mo gìkan
ginlulungtod ko an at' mga bunakan
ha butnga han binitad nga taklap
basi igbalotan, dad-on nga't ha sàlog
upod an panay ngan pakang.
San-o ko pahuroman,
linain ko an di-kolor ngan busag.
Tima, sabonon.
Tima, kurokus-on;
paglambahon han pakang
an naawil nga mga baho.
Tima latakan, bulyasan.
Upod han mga buring ug bura,
igin-anod han daganas han Himanglos
an ak ha im' hinumdoman.
Samtang pinanmamalaypay ko
an magbusag-busag ko nga binunakan—
nangalimwag an alimyon han imo panapton—
may pag-iliw nga umalop ha akon dughan.
Pastilan, kun nalalabhan la ini nga dughan
akon gud ini paglalatakan.
 UGMAD ni Victor N. Sugbo
Iras ha lawas agi
Hin ti-aw nga disugadhaaton
Lisang bilin han pagyinamos
Ha ligid han kadapdapan,
Makarimadima nga katol ha panit
Nga sinaghiran hin agta,
Mga kulba binuhatan hin itom nga dila:
Nawawara inin tanan pinaagi hin loon,
Sinunog nga kamangyan ngan sangig, papel,
Buhok mo, inolang han imo sinul-otan,
Tapos huhuringhuringan an im alimpupuro
Basi mangiwas mga ulod
Han imo alimpatakan.
AYAW PAGPUDLA AN TUOG ni Phil Harold Mercurio
Ayaw
Pagpudla an Tuog
Didto sa ligid san bingalog
Kay punod san tuna nga naaanas
Tikang sa bukid, balay san tutulihaw
Nga pirme nahapon sa Halawihaw,
Tigaman san giutan san
Katakip nga tuna.
Ayaw
Pagpasipara
Pagpulod
San
Tuog
Dida sa
Igbaw
San sapa.
Kay tugon
Ni Apoy
Nga iton
Atamanon
Sugad san iya saad
San naistar nga diri sugad sa aton
NADAKPAN KO HIYA NGA NATUTOK ni Janis Claire Salvacion
Nadakpan ko hiya nga natutok May dara nga hagkot
ha akon mga bitiis an huyop han amihan
Magkaatubang an amon lingkoran ha dyip mahulos-hulos pa
ngan lumingi hiya tipahirayo han pagkarigo an akon buhok
samtang gin-ubos ko pero may kun ano
an akon mga mata nga namamaso
gintugkop an mga kamot ha akon kauondan.
ha bawbaw han akon saya. Han utro ako
nga sumiplat ha iya
nagtapo an amon mga mata
ngan tigda la nga baga gusto ko
ikiwa
ibuka maguti
an nagdudukot ko nga mga paa.
HI TATAY GUSTING NGA PARAGLABAS
Ginlubong namon
ha lindong han igot,
dida ha libong han iya payag,
ha Brgy Santo Nino
pag-ultan hit Tolosa ngan Tanuan.
Kahuman han dulok,
pagbalik han dagat ha Pasipiko,
ginbilin an malangto nga hanang.
ni Firie Jill T. Ramos
Bumulang kan Tonying an iya kamot
natahos dida han nabukid nga siot.
an iya kapanglayan magtugnaw,
nalaylay.
Makagarahom nga dagat
nga nagbuhi kan Tay Gusting ,
Nagbuot, naglarang pamawi
han kinabuhi nga ginpaangbit.
MABABANTAD AN BUBUYAON ni Jeremy Evardone
Pag-aanhun ko an pag-abyog sa imo
sa duyan san pagmayuyo kun an imo dughan
mas mabug-at pa san Bubuyaon
Kun an dumot imo pag-aawilan
kabungyod san diri abat nga imo pagpalabi-labi
luyo san san mga inasukaran nga akon paglubi-lubi,
madudunot na la inin’ maghamot nga orkidyas,
mangunguyit na la an magkantahon nga katamsihan.
Pag-aanhon ko pa man inin mga hinumdoman —
Nga tanan dara naton tikang sa Bubuyaon.
Bisan paluhod ko nga sagkaon an Bubuyaon,
pag-aanhon ko an akon mga tuhod kun diri
maniguro panginyupo sin pasaylo tikang sa
imo?
Pag-aanhon ko an kalibutan kun diri
pakigsaruan?
Pag-aanhon mo an pasaylo kun diri sa akon ig-
intrigo?
Kay kun imo aaruon,
lulukduhon ko an Bubuyaon.
 KATUNDAN ni Reynel M. Ignacio
Makakaginhawa na gihapon an akon pinanlidungan
nga numero sa kalendaryo. Kay kun diri ka pa mabaya
sa kalibutan, diri mapipiritan pag-uli an mga tiil
nga maiha na nga waray hahangkupi san tapo-tapo.
Mao lugod an pagmamakauli, kun san-o nga diri na
makakaghangkop an mga kamot, ngan sa huna-huna na la
mahihinabo an mga harok san mga hinumduman.
Naduroy lugod an kabaraka, yana nga maaram
na san kamutangan san imo kahimo, san imo panapton,
ngan bisan san imo mga uban nga tistigos san pagpinamulat.
Sini nga takna, nga diri mo na mahibabatian, natigdamo
la an akon karuyag ig-istorya sa imo. Labaw san ngatanan,
an hinay-hinay nga pagpunias san adlaw kun ginkikinitaan
mo ini sa butnga san kadagatan, ngan nahingangatawa ka
san alibangbang nga sinin balud natatapsikan.
Nahinumdom ak lugod san imo tugon sa akon
nga tingali nakukutaw na an akon huna-huna,
kay kun diri krudo, naghahalo nga asgad ngan baga
san makina an pirmi ko nga naaamyon.
Tingali gad la naglalamiraw o sa alibangbang
ko la kaya igsalin-urog an kamingaw.
Makapira na bilnga san im-im an pamaagi
san pag-aro pasaylo, nga nahiagian la san diri pagbagaw.
Sugad san diri permanente nga mga bura,
kadali bumalik san piniluan kahuman hapyuda
san palad an tinitipigan nga daster nga igreregalo ko sa imo.
Naruruyagan naton an kapula ngan an mga bukad nga
iginburda
Mao an akon ginsupuhan. Magaan ini dad-on ngatanan
diri sugad san mga tiil nga nahingalimot na san dalan
 MGA PITAD PAHARAYO SA AKO ni Mark Bonabon
Nagpus-aw na an mga bukad
Nga ak sa im ginhalad.
Pero sa ak hinumdom naalop
An kabagá san im im-im.
Kunta, bisan nano pa man,
Iton nga mga nagpus-aw nga bukad
Im gud titirukon, titipigan
Hasta an mga tunok
Sa butnga san mga paypay
San im huna-huna.
Nagpinít na an kape nga kaladkad
Nga im sa ak gintimpla
Pero sa ak dughan napabilin
An dagaang san im hinangos.
Ungod, kay bisan nano pa man
Ini nga nagpinit nga kape
Ak gud iimnon, hihigupon
Hasta an lugdang
Sa ilarom san kapait
San im hiyom.
Oo, kay bisan pa man daw an tunok,
Sa kasakit, nakaguyok.
Kay bisan pa man daw an lugdang,
Sa kauhaw, nakaundang.
Sanglit, ayaw la kabaraka.
Hala sige, pitad, larga.
Kay itatangway ko na la an kahidlaw.
Isusumsom ko na la an kamingaw.
Kay tanan nga nahugpa, nalupad.
Tanan nga ginbabayaan, nakaugsad.
Sanglit, ayaw la kasubo
Kay naanad na gad akó makabati
San nakalpad nga mga pitad
Paharayo sa akô.
WRITING
THE SIDAY
1 USE CONCRETE IMAGERY.
 Avoid abstract imagery and go for concrete descriptions of
people, places, and things in your poem. You should always try
to describe something using the five senses: smell, taste,
touch, sight, and sound. Using concrete imagery will immerse
your reader in the world of your poem and make images come
alive for them.
1 USE CONCRETE IMAGERY.
 For example, rather than try to describe a feeling or image
with abstract words, use concrete words instead.
2 INCLUDE LITERARY DEVICES.
 Literary devices like metaphor and simile add variety and
depth to your poetry. Using these devices can make your
poem stand out to your reader and allow you to paint a
detailed picture for your reader. Try to use literary devices
throughout your poem, varying them so you do not use only
metaphors or only similes in your writing.
3 WRITE FOR THE EAR.
 Poetry is made to be read out loud and you should write your
poem with a focus on how it sounds on the page. Writing for
the ear will allow you to play with the structure of your poem
and your word choice. Notice how each line of your poem
flows into one another and how placing one word next to
another creates a certain sound
POLISHING
THE SIDAY
1 READ THE POEM OUT LOUD.
 Once you have completed a draft of the poem, you should
read it aloud to yourself. Notice how the words sound on the
page. Pay attention to how each line of your poem flows into
the next. Keep a pen close by so you can mark any lines or
words that sound awkward or jumbled.
 You may also read the poem out loud to others, such as
friends, family, or a partner. Have them respond to the poem
on the initial listen and notice if they seem confused or
unclear about certain phrases or lines.
2 GET FEEDBACK FROM OTHERS.
 You can also share your poem with other poets to get
feedback from them and improve your poem. You may join a
poetry writing group, where you workshop your poems with
other poets and work on your poetry together. Or you may
take a poetry writing class where you work with an
instructor and other aspiring poets to improve your writing.
You can then take the feedback you receive from your peers
and use it in your revision of the poem.
3 REVISE YOUR POEM.
• Once you have received feedback on your poem, you should
revise it until it is at its best. Use feedback from others to
cut out any lines to feel confusing or unclear. Be willing to
“kill your darlings” and not hold onto pretty lines just for the
sake of including them in the poem. Make sure every line of
the poem contributes to the overall goal, theme, or idea of
the poem.
• You should also make sure spelling and grammar in the poem
is correct.
TIPS I LEARNED FROM WORKSHOPS

• Capture one poetic moment.

• The poem’s meaning should have to layers: literal and

metaphorical.

• Do not sacrifice sense over sound and structure.

• Use your variety of Ninorte Samarnon.

LYRIC 17 by Jose Garcia Villa
First, a poem must be magical,
Then musical as a seagull.
It must be a brightness moving
And hold secret a bird’s flowering
It must be slender as a bell,
And it must hold fire as well.
It must have the wisdom of bows
And it must kneel like a rose.
It must be able to hear
The luminance of dove and deer.
It must be able to hide
What it seeks, like a bride.
And over all I would like to hover
God, smiling from the poem’s cover.
REFERENCES
 Alunan, M. et al. (2017). Tinalunay: Hinugpong nga Panurat
nga Winaray. UP Press: Quezon City.

 Alunan, M., Badulid, A. C., & Mercurio, P. L. (2019). Pinili: 15

Years of Lamiraw. National Commission for Culture and the
Arts.
 Wong Ken, S. (10 February 2020). How to Write a Poem.
Wikihow.
Salamat!
MAGSURAT KITA SA NINORTE NGA PINULUNGAN!