21st Century Literature 11493h

21st Century Literature from the Philippines and the World Jana Kc A. Sagal • 12 - HUMSS The diversity and richness of Philippine literature evolved side by side with the country's history. This can best be appreciated in the context of the country's pre-colonial cultural traditions and the socio-political histories of its colonial and contemporary traditions. The average Filipino's unfamiliarity with his indigenous literature was largely due to what has been impressed upon him: that his country was "discovered" and, hence, Philippine "history" started only in 1521. So successful were the efforts of colonialists to blot out the memory of the country's largely oral past that present-day Filipino writers, artists and journalists are trying to correct this inequity by recognizing the country's wealth of ethnic traditions and disseminating them in schools and in the mass media. The rousing of nationalistic pride in the 1960s and 1970s also helped bring about this change of attitude among a new breed of Filipinos concerned about the "Filipino identity."

~Pre - Colonial Period~ Filipinos often lose sight of the fact that the first period of the Philippine literary history is the longest. Certain events from the nation’s history had forced lowland Filipinos to begin counting the years of history from 1521, the first time written records by Westerners referred to the archipelago later to be called “Las Islas Filipinas”. However, the discovery of the “Tabon Man” in a cave in Palawan in 1962, has allowed us to stretch our prehistory as far as 50,000 years back. The stages of that prehistory show how the early Filipinos grew in control over their environment. Through the researches and writings about Philippine history, much can be reliably inferred about pre-colonial Philippine literature from an analysis of collected oral lore of Filipinos whose ancestors were able to preserve their indigenous culture by living beyond the reach of Spanish colonial s. The oral literature of the pre-colonial Filipinos bore the marks of the community. The subject was invariably the common experience of the people constituting the village-food-gathering, creature and objects of nature, work in the home, field, forest or sea, caring for children, etc. This is evident in the most common forms of oral literature like the riddle, the proverbs and the song, which always seem to assume that the audience is familiar with the situations, activities and objects mentioned in the course of expressing a thought or emotion. The language of oral literature, unless the piece was part of the cultural heritage of the community like the epic, was the language of daily life. At this phase of literary development, any member of the community was a potential poet, singer or storyteller as long as he knew the language and had been attentive to the conventions f the forms. Thousands of maxims, proverbs, epigrams, and the like have been listed by many different collectors and researchers from many dialects. Majority of these reclaimed from oblivion com from the Tagalos, Cebuano, and Ilocano dialects. And the bulks are rhyming couplets with verses of five, six, seven or eight syllables, each line of the couplet having the same number of syllables. The rhyming practice is still the same as today in the three dialects mentioned. A good number of the proverbs is

conjectured as part of longer poems with stanza divisions, but only the lines expressive of a philosophy have remained ed in the oral tradition. Classified with the maxims and proverbs are allegorical stanzas which abounded in all local literature. They contain homilies, didactic material, and expressions of homespun philosophy, making them often quoted by elders and heen in talking to inferiors. They are rich in similes and metaphors. These one stanza poems were called Tanaga and consisted usually of four lines with seven syllables, all lines rhyming. The most appreciated riddles of ancient Philippines are those that are rhymed and having equal number of syllables in each line, making them classifiable under the early poetry of this country. Riddles were existent in all languages and dialects of the ancestors of the Filipinos and cover practically all of the experiences of life in these times. Almost all the important events in the life of the ancient peoples of this country were connected with some religious observance and the rites and ceremonies always some poetry recited, chanted, or sung. The lyrics of religious songs may of course be classified as poetry also, although the rhythm and the rhyme may not be the same. Drama as a literary from had not yet begun to evolve among the early Filipinos. Philippine theater at this stage consisted largely in its simplest form, of mimetic dances imitating natural cycles and work activities. At its most sophisticated, theater consisted of religious rituals presided over by a priest or priestess and participated in by the community. The dances and ritual suggest that indigenous drama had begun to evolve from attempts to control the environment. Philippine drama would have taken the form of the dance-drama found in other Asian countries. Prose narratives in prehistoric Philippines consisted largely or myths, hero tales, fables and legends. Their function was to explain natural phenomena, past events, and contemporary beliefs in order to make the environment less fearsome by making it more comprehensible and, in more instances, to make idle hours less tedious by filling them with humor and fantasy. There is a great wealth of mythical and legendary lore that belongs to this period, but preserved mostly by word of mouth, with few written down by interested parties who happen upon them. The most significant pieces of oral literature that may safely be presumed to have originated in prehistoric times are folk epics. Epic poems of great proportions and lengths abounded in all regions of the islands, each tribe usually having at least one and some tribes possessing traditionally around five or six popular ones with minor epics of unknown number. Filipinos had a culture that linked them with the Malays in the Southeast Asia, a culture with traces of Indian, Arabic, and, possibly Chinese influences. Their epics, songs, short poems, tales, dances and rituals gave them a native Asian perspective which served as a filtering device for the Western culture that the colonizers brought over from Europe.

~Spanish Colonization~ The Spanish colonizers wanted to undermine the native oral tradition by substituting for it the story of the ion of Christ. However, the native tradition survived and even flourished in areas

inaccessible to the Spaniards. Also, the Spaniards were late in instituting a public educational system, which contributed to the survival of the existing folk literature. The church authorities adopted a policy of spreading the Church doctrines by communicating to the natives in their own language. Doctrina Christiana (1593), the first book to be printed in the Philippines, was a prayer book written in Spanish with an accompanying Tagalog translation. The task of translating religious instructional materials forced the Spanish missionaries to employ natives as translators. Eventually, these natives learned to read and write both in Spanish and in their native tongue. These bilingual natives were called the Ladinos. They published their works, mainly devotional poetry, in the first decade of the 17th century. The most gifted among the Ladinos was Gaspar Aquino de Belen who wrote Mahal na Pasion ni Jesu Christo, a Tagalog poem based on Christ's ion, was published in 1704. Until the 19th century, the printing presses were owned and managed by the religious orders. Thus, religious themes dominated the literature of the time. In the 18th century, secular literature from Spain in the form of medieval ballads inspired the native poetic-drama form called the komedya, later to be called moro-moro because these often dealt with the theme of Christians triumphing over Moslems. Fransisco Baltazar (1788-1862), popularly called Balagtas, is the acknowledged master of traditional Tagalog poetry. His narrative poem, "Florante at Laura," written in sublime Tagalog, is about tyranny in Albanya, but it is also perceived to be about the tyranny in his Filipino homeland. Printing overtook the oral tradition, and it set for the development of prose. The first Filipino novel was "Ninay," written in Spanish by Pedro Paterno. National hero, Jose Rizal (1861-1896) chose the realistic novel as his medium. Rizal's two novels, "Noli Me Tangere" and its sequel, "El Filibusterismo," chronicle the life and ultimate death of Ibarra, a Filipino educated abroad, who attempts to reform his country through education. Inspired by Rizal and his two novels were Andres Bonifacio (1863-1897) and his closest aide, Emilio Jacinto (18751899). Both were writers and social critics who were profoundly influenced by the liberal ideas of the French enlightenment. The Philippne revolutionary period also had its share of women writers. Gregoria de Jesus, wife of Andres Bonifacio, wrote notable Tagalog poetry. In Vigan of the Ilocano North, Leona Florentino, by her poetry, became the foremost Ilocano writer of her time.

~Nationalistic/Propaganda and Revolution Period~

(1864 – 1896) A. Characteristics 1. Planted seeds of nationalism in Filipinos 2. Language shifted from Spanish to Tagalog 3. Addressed the masses instead of the “intelligentsia” B. Literary Forms 1. Propaganda Literature – Reformatory in objective a. Political Essays – satires, editorials and news articles were written to attack and expose the evils of Spanish rule i. Diariong Tagalog – founded by Marcelo del Pilar ii. La Solidaridad – whose editor-in-chief is Graciano Lopez-Jaena b. Political Novels i. Noli Me Tangere and El Filibusterismo – Jose Rizal’s masterpieces that paved the way to the revolution 2. Revolutionary Literature – more propagandistic than literary as it is more violent in nature and demanded complete independence for the country a. Political Essays – helped inflame the spirit of revolution i. Kalayaan – newspaper of the society, edited by Emilio Jacinto b. Poetry i. True Decalogue – Apolinario Mabini ii. Katapusang Hibik ng Pilipinas – Andres Bonifacio iii. Liwanag at Dilim – Emilio Jacinto

~American Colonial Period~ A new set of colonizers brought about new changes in Philippine literature. New literary forms such as free verse [in poetry], the modern short story and the critical essay were introduced. American influence was deeply entrenched with the firm establishment of English as the medium of instruction in all schools and with literary modernism that highlighted the writer's individuality and cultivated consciousness of craft, sometimes at the expense of social consciousness. The poet, and later, National Artist for Literature, Jose Garcia Villa used free verse and espoused the dictum, "Art for art's sake" to the chagrin of other writers more concerned with the utilitarian aspect of literature. Another maverick in poetry who used free verse and talked about illicit love in her poetry was Angela Manalang Gloria, a woman poet described as ahead of her time. Despite the threat of censorship by the new dispensation, more writers turned up "seditious works" and popular writing in the native languages bloomed through the weekly outlets like Liwayway and Bisaya. The Balagtas tradition persisted until the poet Alejandro G. Abadilla advocated modernism in poetry. Abadilla later influenced young poets who wrote modern verses in the 1960s such as Virgilio S. Almario, Pedro I. Ricarte and Rolando S. Tinio. While the early Filipino poets grappled with the verities of the new language, Filipinos seemed to have taken easily to the modern short story as published in the Philippines Free Press, the College Folioand Philippines Herald. Paz Marquez Benitez's "Dead Stars" published in 1925 was the first successful short story in English written by a Filipino. Later on, Arturo B. Rotor and Manuel E. Arguilla showed exceptional skills with the short story.

Alongside this development, writers in the vernaculars continued to write in the provinces. Others like Lope K. Santos, Valeriano Hernandez Peña and Patricio Mariano were writing minimal narratives similar to the early Tagalog short fiction called dali or pasingaw (sketch). The romantic tradition was fused with American pop culture or European influences in the adaptations of Edgar Rice Burroughs' Tarzan by F. P. Boquecosa who also penned Ang Palad ni Pepe after Charles Dicken's David Copperfield even as the realist tradition was kept alive in the novels by Lope K. Santos and Faustino Aguilar, among others. It should be noted that if there was a dearth of the Filipino novel in English, the novel in the vernaculars continued to be written and serialized in weekly magazines like Liwayway, Bisaya, Hiligaynon and Bannawag. The essay in English became a potent medium from the 1920's to the present. Some leading essayists were journalists like Carlos P. Romulo, Jorge Bocobo, Pura Santillan Castrence, etc. who wrote formal to humorous to informal essays for the delectation by Filipinos. Among those who wrote criticism developed during the American period were Ignacio Manlapaz, Leopoldo Yabes and I.V. Mallari. But it was Salvador P. Lopez's criticism that grabbed attention when he won the Commonwealth Literay Award for the essay in 1940 with his "Literature and Society." This essay posited that art must have substance and that Villa's adherence to "Art for Art's Sake" is decadent. The last throes of American colonialism saw the flourishing of Philippine literature in English at the same time, with the introduction of the New Critical aesthetics, made writers pay close attention to craft and "indirectly engendered a disparaging attitude" towards vernacular writings -- a tension that would recur in the contemporary period.

~ Japanese Occupation Period~ Between 1941-1945, Philippine Literature was interrupted in its development when the Philippines was again conquered by another foreign country, Japan. Philippine literature in English came to a halt. Except for the TRIBUNE and the PHILIPPINE REVIEW, almost all newspapers in English were stopped by the Japanese. This had an advantageous effect on Filipino Literature, which experienced renewed attention because writers in English turned to writing in Filipino. Juan Laya, who used to write in English, turned to Filipino because of the strict prohibitions of the Japanese regarding any writing in English. The weekly LIWAYWAY was placed under strict surveillance until it was managed by Japanese named Ishiwara.

In other words, Filipino literature was given a break during this period. Many wrote plays, poems, short stories, etc. Topics and themes were often about life in the provinces. The common theme of most poems during the Japanese occupation was nationalism, country, love, and life in the barrios, faith, religion and the arts. Three types of poems emerged during this period. They were: 1. Haiku –a poem of free verse that the Japanese like. It was made up of 17 syllables divided into three lines. The first line had 5 syllables, the second, 7 syllables, and the third, five. The Haiku is allegorical in meaning, is short and covers a wide scope in meaning. 2. Tanaga –like the Haiku, is short but it had measure and rhyme. Each line had 17 syllables and it’s also allegorical in meaning. 3. Karaniwang Anyo (Usual Form) –like those mentioned earlier in the beginning chapters of this book. The drama experienced a lull during the Japanese period because movie houses showing American films were closed. The big movie houses were just made to show stage shows. Many of the plays were reproductions of English plays to Tagalog. The translators were Francisco Soc Rodrigo, Alberto Concio, and Narciso Pimentel. They also founded the organization of Filipino players named Dramatic Philippines. A few of play writers were: 1. Jose Ma. Hernandez –wrote PANDAY PIRA 2. Francisco Soc Rodrigo –wrote sa PULA, SA PUTI 3. Clodualdo del Mundo –wrote BULAGA (an expression in the game Hide and Seek). 4. Julian Cruz Balmaceda –wrote SINO BA KAYO?, DAHIL SA ANAK, and HIGANTE NG PATAY. The field of the short story widened during the Japanese Occupation. Many wrote short stories. Among them were: Brigido Batungbakal, Macario Pineda, Serafin Guinigindo, Liwayway Arceo, Narciso Ramos, NVM Gonzales, Alicia Lopez Lim, Ligaya Perez, and Gloria Guzman. The best writings in 1945 were selected by a group of judges composed of Francisco Icasiano, Jose Esperanza Cruz, Antonio Rosales, Clodualdo del Mundo and Teodoro Santos. As a result of this selection, the following got the first three prizes: First Prize: Narciso Reyes with his LUPANG TINUBUAN Second Prize: Liwayway Arceo’s UHAW ANG TIGANG NA LUPA Third Prize: NVM Gonzales’LUNSOD NAYON AT DAGAT-DAGATAN Because of the strict prohibitions imposed b the Japanese in the writing and publishing of works in English, Philippine literature in English experienced a dark period. The few who dared to write did so for their bread and butter or for propaganda.

Writings that came out during this period were journalistic in nature. Writers felt suppressed but slowly, the spirit of nationalism started to seep into their consciousness. While some continued to write, the majority waited for a better climate to publish their works. Noteworthy writer of the period was Carlos P. Romulo who won the Pulitzer Prize for his bestsellers I SAW THE FALL OF THE PHILIPPINES, I SEE THE PHILIPPINES RISE and his MOTHER AMERICA AND MY BROTHER AMERICANS. Journalists include Salvador P. Lopez, Leon Ma. Geurrero, Raul Manglapuz and Carlos Bulosan. Nick Joaquin produced THE WOMAN WHO LOOKED LIKE LAZARUS.Fred Ruiz Castro wrote a few poems. F.B. Icasino wrote essays in The Philippine Review. Carlos Bulosan’s works included THE LAUGHTER OF MY FATHER (1944), TH VOICE OF BATAAN, 1943, SIX FILIPINO POETS, 1942, among others. Alfredo Litiatco published With Harp and Sling and in 1943, Jose P. Laurel published Forces that Make a Nation Great. The Commonwealth Literary Awards gave prizes to meritorious writers. Those who won were: 1. LIKE THE MOLAVE –by Rafael Zulueta da Costa (Poetry) 2. HOW MY BROTHER LEON BROUGTH HOME A WIFE –by Manuel E. Arguilla (Short Story) 3. LITERATURE AND SOCIETY –by Salvador P. Lopez (Essay) 4. HIS NATIVE SOIL –by Juan Laya (Novel) President Manuel L. Quezon’s autobiography THE GOOD FIGHTwas published posthumously. Radio broadcasts echoed the mingled fear and doubts in the hearts of the people. Other writers of this period were Juan Collas (19440, Tomas Confesor (1945), Roman A. de la Cruz and Elisa Tabuñar.

~ Contemporary/Modern Period~ The flowering of Philippine literature in the various languages continues especially with the appearance of new publications after the Martial Law years and the resurgence of committed literature in the 1960s and the 1970s. Filipino writers continue to write poetry, short stories, novellas, novels and essays whether these are socially committed, gender/ethnic related or are personal in intention or not. Of course the Filipino writer has become more conscious of his art with the proliferation of writers workshops here and abroad and the bulk of literature available to him via the mass media including the internet. The various literary awards such as the Don Carlos Palanca Memorial Awards for Literature, the Philippines Free Press, Philippine Graphic, Home Life and Panorama literary awards encourage him to compete with his peers and hope that his creative efforts will be rewarded in the long run. With the new requirement by the Commission on Higher Education of teaching of Philippine Literature in all tertiary schools in the country emphasizing the teaching of the vernacular literature or literatures of the

regions, the audience for Filipino writers is virtually assured. And, perhaps, a national literature finding its niche among the literatures of the world will not be far behind.