21st century century literatures of the philippines and the world, Exercises of English

Download 21st century century literatures of the philippines and the world and more Exercises English in PDF only on Docsity! SENIOR HIGH SCHOOL 21st Century Literatures from the Philippines and the World Quarter 1 - Module 1 Understanding the Literary History and Appreciating the 21st Century Literatures of the Philippines Department of Education e Republic of the Philippines 21st Century Literatures from the Philippines and the World Alternative Delivery Mode Quarter 1 — Module 1: Understanding the Literary History and Appreciating the 21st Century Literatures of the Philippines First Edition, 2020 Republic Act 8293, section 176 states that: No copyright shall subsist in any work of the Government of the Philippines. However, prior approval of the government agency or office wherein the work is created shall be necessary for exploitation of such work for profit. Such agency or office may, among other things, impose as a condition the payment of royalties. Borrowed materials (i.e., songs, stories, poems, pictures, photos, brand names, trademarks, etc.) included in this book are owned by their respective copyright holders. Every effort has been exerted to locate and seek permission to use these materials from their respective copyright owners. The publisher and authors do not represent nor claim ownership over them. Published by the Department of Education — Region X — Northern Mindanao. Development Team of the Module Writers: Noemi M. Abellanosa, Emmalyn L. Achacoso, El Dela Cruz and Jade Ann R. Maaliao Content Editor: Juvy S. lliwiliw Language Editor: Glenn Dale P. Eli Proofreader: Analyn S. Parojenog Illustrator: Mark Anthony V. llajas Layout Artist: Rheza Mae M. Pacut Development Team: Chairperson: Dr. Arturo B. Bayocot, CESO III Regional Director Co-Chairpersons: Dr. Victor G. De Gracia Jr. CESO V Assistant Regional Director Jonathan S. dela Pefia, PhD, CESO V Schools Division Superintendent Rowena H. Para-on, PhD Assistant Schools Division Superintendent Mala Epra B. Magnaong, Chief ES, CLMD Members: Neil A. Improgo, PhD, EPS-LRMS; Bienvenido U. Tagolimot, Jr., PhD, EPS-ADM; Erlinda G. Dael, PhD, C/D Chief, Maria Teresa M. Absin, EPS (English); Celieto B. Magsayo, LRMS Manager; Loucile L. Paclar, Librarian II; Kim Eric G. Lubguban, PDO II Regional Evaluator: Alma Lacostales Calibo — Lanao del Norte Division Printed in the Philippines by Department of Education - Alternative Delivery Mode (DepEd-ADM) Office Address: Masterson Avenue, Upper Balulang, Zone 1, Cagayan de Oro City, Cagayan de Oro, Lalawigan ng Misamis Oriental Telefax: E-mail Address: TABLE OF CONTENTS Page No. Cover page i Copyright page ii Table of Contents iv FIRST QUARTER - MODULE 1 What | Need to Know 1 Things to Remember to Get Through 1 Remember This 2 LESSON 1- Geographic, Linguistic, and Ethnic Dimensions of Philippine Literary History from Pre-Colonial to Contemporary What | Need to Know 3 What | Know 3 What is it 5 What's In 1 What's More 12 Assessment 13 LESSON 2 - Texts and Authors from Each Region What | Need to Know 14 What | know 14 What's In 15 What's New 15 What Is It 16 What's More 33 What | Have Learned 33 Assessment 35 What | can do 36 Additional Activities 37 LESSON 3 - 21st Century Literary Genres, Elements, and Structures What 11 Need to Know 38 What | Know 38 What Is It 39 What's New 39 What Is It 40 What's More 50 Assessment 51 LESSON 4 - Literary, Biographical, Linguistic, and Socio-Cultural Contexts A. Literary text What | Need to Know What Is It What's New 52 52 55 B. LITERARY READING THROUGH A LINGUISTIC CONTEXT What | Need to Know 56 What | Know 56 What Is It 57 What's New 58 Assessment 68 C. LITERARY READING THROUGH A LINGUISTIC CONTEXT What | Need to Know 68 What | Know 69 What Is It 69 D. LITERARY READING THROUGH A SOCIO-CULTURAL CONTEXT What | Need to Know 72 What Is It 72 What's New 73 What's More 74 Assessment 81 LESSON 5 - Creative Representation of a Literary Text by Applying Multimedia Skills What | Need to Know 82 What | Know 82 What Is It 83 Assessment 84 What | Can Do 85 What's More 86 LESSON 6 - SELF- AND/OR PEER ASSESSMENT RUBRICS Documentary Film/Video Presentation 88 Drama Presentation 90 PowerPoint Presentation- Time Travels 91 Travelogue Writing 93 Video travelogue/biography/Autobiography/Journalistic Reports 95 Assessment 96 What | Have Learned 97 References 99 WHAT I NEED TO KNOW This first learning module contains 21st Century Literatures from the regions in various genres and forms in consideration of the various dimensions of Philippine literary history from pre-colonial to contemporary; canonical authors and works of Philippine National Artists in Literature; names of authors and their works, and the backgrounds of the literature from the region where the high school is located. In this module, the students understand and appreciate the elements and contexts of 21st century Philippine literature from the regions through: a written close analysis and critical interpretation of a literary text in terms of form and theme, with a description of its context derived from research; and an adaptation of a text into other creative forms using multimedia. After studying this module, you will be able to: 1. 2. 3. define literature from various writers; identify the geographic, linguistic, and ethnic dimensions of Philippine literary history from pre-colonial to the contemporary; make graphical timeline on how literatures of literary periods proliferated; identify representative texts and authors from each region (e.g. engage in oral history research with focus on key personalities from the students’ region, province, town; appreciate and internalize the meaning of the texts; value the contributions of local writers to the development of regional literary traditions; compare and contrast the various 21st century literary genres and the ones from the earlier genres/periods citing their elements, structures and traditions; and present a creative presentation through multimedia. THINGS TO REMEMBER TO GET THROUGH To learn and benefit from this module, follow the following steps: 1. Read the module title and the module introduction to get an idea of what the module covers. Specifically, read the first two sections of this module carefully. 1 3. It is a body of work, either written, oral, or visual, containing imaginative language that realistically portrays thought, emotions, and experiences of the human condition. a. Pre-colonial Literature b. Philippine Literature c. Literature d. World Literature 4. The period of time before colonization of a region or territory. a. Colonial b. Pre-Colonial c. Pre-history d. Post-Colonial 5. Identify the two classifications of folk literature: a. Local and Global b. Dynamic and Static c. Flat and Round d. Floating and Oral 6. Literatures during pre-colonial period were handed down to us through a. word of mouth b.paperandpen_ c. multimedia 7. Which of the following is true about Philippine pre-colonial texts? a. Most of the pre-colonial dramas were held in the sambahan or places of worship. b. They revolve around the illiteracy of early Filipinos. c. Only the concept of death is used as a subject for narratives. d. All of the above 8. It is a rhythmical type of literary composition that usually serves to excite the readers. a. Poetry b. Prose 9. Which of the following is a theme of pre-colonial texts? a. Karma b. Reincarnation c. Ideals d. War 10. It is the ordinary form of spoken or written language, without metrical structure a. Poetry b. Prose 11. It is a war song which evolved into a love song. a. Uyayi b. Talindaw c. Hele d. Kumintang 12. It is a song of revelry a. Epiko b. Uyayi c. Diyuna d. Sabi 13. These are sacred narrative explaining how the world and man came to be in their present form. a. Legends b. Myths c. Epics d. Fables 14. Philippine myths show that ancient Filipinos believed in one supreme god and in a number of lesser gods and goddesses a. True b. False 15. These are myths that seek to explain natural phenomenon like rainbows, thunder and lightning. a. Early concept of the universe b. The Sun, Moon and Stars c. Establishment of Natural Order WHAT IS IT What is literature? The word literature is derived from the Latin term Jitera which means letter. It has been defined differently by various writers. These are the following: 1. Literature expresses the feelings of people to society, to the government, to his surroundings, to his fellowmen, and to his Divine Creator. (Brother Azurin) 2. Literature is anything that is printed as long as it is related to the ideas and feelings of the people, whether it is true, or just a product of one’s imagination. (Webster) 3. “True literature is a piece of written work which is undying. It expresses the feelings and emotions of people in response to his everyday efforts to live, to be happy in his environment and, after struggles, to reach his Creator” (PANITIKANG FILIPINO) Some loosely interpret literature as any printed matter written within a book, a magazine or a pamphlet. Others define literature as a faithful reproduction of man’s manifold experiences blended into one harmonious expression. Because literature deals with ideas, thoughts and emotions of man, literature can be said to be the story of man. Man's loves, griefs, thoughts, dreams and aspirations coached in beautiful language is literature. In Panitikang Pilipino written by Atienza, Ramos, Salazar and Nazal, it says that “true literature is a piece of written work which is undying. It expresses the feelings and emotions of people in response to his everyday efforts to live, to be happy in his environment and, after struggles, to reach his Creator.” Philippine Literature is a diverse and rich group of works that has evolved side- by-side with the country's history. Literature had started with fables and legends made by the ancient Filipinos long before the arrival of Spanish influence. The main themes of Philippine literature focus on the country’s pre-colonial cultural traditions and the socio-political histories of its colonial and contemporary traditions. 5 Literary History/Evolution of the Philippines 1. Pre-Colonial Period The evolution of Philippine literature depended on the influences of colonization and the spirit of the age. The first Filipino alphabet called ALIBATA was replaced by the Roman alphabet. Indigenous Philippine literature was based on traditions and customs of a particular area of the country. Philippines is an archipelago country, consisting several islands, (7,107 islands to be exact), and each of those islands has its specifications of cultures and traditions, bearing different set of native literature. Ancient literatures were written on the perishable materials like dried leaves, bamboo cylinder, and bark of the trees. Literatures were handed down to us through the word of mouth. There were two literary forms during the pre-colonial period: A. Written literatures Examples: a. Riddles or bugtong. These are effective ways to inculcate the ability of logical thinking of a child. b. Epigrams or salawikain. It reflects the hidden meaning through the good lines. It provides good values. c. Poems or tanaga — These are common forms of poetry which has a quatrine with 7 syllables each with the same rhyme at the end of each line. It also expresses insights and lessons in life. B. Oral literatures Examples: a. Chant. It is used in witchcraft and enchantment. While, ambahan is a traditional poetry of Hanunoo Mangyans of Oriental Mindoro which teaches lesson about life. It is recited by parents to educate their children by the youth expressing their love, by the old to impart experiences, or by the community in tribal ceremony. (slideshare.ne/mobile/jessacerbito. ..) b. Balagtasan .This is a Filipino form of debate done in verse. The term is derived from the surname of Francisco Balagtas the author of Filipino epic Florante at Laura. The Literary Revolution The youth became completely rebellious during this period. This was proven not only in the bloody demonstrations and in the sidewalk expressions but also in literature. Campus newspapers showed rebellious emotions. The once aristocratic writers developed awareness for society. They held pens and wrote on placards in red paint the equivalent of the word MAKIBAKA (To dare!). Writing During the Period of Activism The irreverence for the poor reached its peak during this period of the mass revolution. It was also during this period that Bomba films that discredit our ways as Filipinos started to come out. b. Period of the New Society (1972-1980) The period of the New Society started on September 21, 1972. The Carlos Palanca Awards continued to give annual awards. Almost all themes in most writings dealt with the development or progress of the country —like the Green Revolution, family planning, proper nutrition, environment, drug addiction and pollution. The New Society tried to stop pornography or those writings giving bad influences on the morals of the people. All school newspapers were temporarily stopped and so with school organizations. Filipino Poetry during the Period of the New Society Themes of most poems dealt with patience, regard for native culture, customs and the beauties of nature and surroundings. The Play under the New Society The government led in reviving old plays and dramas, like the Tagalog Zarzuela, Cenaculo and the Embayoka of the Muslims which were presented in the rebuilt Metropolitan Theater, the Folk Arts Theater and the Cultural Center of the Philippines. Radio and Television Radio continued to be patronized during this period. The play series like Si Matar, Dahlia, Ito Ang Palad Ko, and Mr. Lonely were the forms of recreation of those without television Filipino Films A yearly Pista ng mga Pelikulang Pilipino (Yearly Filipino Film Festival) was held during this time. During the festival which lasted usually for a month, only Filipino films were shown in all theaters in Metro Manila. 1. Maynila...Sa Mga Kuko Ng Liwanag written by Edgardo Reyes and filmed under the direction of Lino Brocka. Bembol Roco was the lead role. 2. Minsa’y lsang Gamu-Gamo, Nora Aunor was the principal performer here. 3. Ganito Kami Noon...Paano Kayo Ngayon led by Christopher de Leon and Gloria Diaz. 4. Insiang: by Hilda Koronel 5. Aguila: led by Fernando Poe ur., Jay llagan and Christopher de Leon Comics, Magazines and other Publications In this period of the New Society, newspapers donned new forms. News on economic progress, discipline, culture, tourism and the like were favored more than the sensationalized reporting of killings, rape and robberies. c. Period of the Third Republic (1981-1985) After ten years of military rule and some changes in the life of the Filipino which started under the New Society, Martial Rule was at last lifted on January 2, 1981. 1. Filipino Poetry » Poems during this period of the Third Republic were romantic and revolutionary. Writers wrote openly of their criticism against the government. The supplications of the people were coached in fiery, colorful, violent, profane and insulting language. 2. Filipino Songs + Many Filipino songs dealt with themes that were really true-to-life like those of grief, poverty, aspirations for freedom, love of God, of country and of fellowmen. Philippine Films during the Period The yearly Festival of Filipino Films continued to be held during this period. The people's love for sex films also was unabated. Below is the table of the list of Philippine Films during the Third Republic. Film Director Cast Genre Kontrobersyal Lino Brocka | Philip Salvador, Gina Alajar, Charo Drama (1981) Santos Relasyon Ishmael Vilma Santos, Christopher de Leon Drama (1982) Bernal Dugong Buhay CarloJ. Ramon Revilla, Bong Revilla, Imelda | Action (1983) Caparas llanan Ang Panday Ronwaldo | Fernando Poe, Jr, Marianne dela Action/F (1984) Reyes Riva, Max Alvarado antasy Tinik sa Dibdib Leroy Nora Aunor, Dina Bonnevie, Phillip Drama (1985) Salvador Salvador 10 d. Rebirth of Freedom (1986-present) History took another twist. Once more, the Filipino people regained their independence which they lost twenty years ago. In the span of four days from February 21-25, 1986, the so-called People Power (Lakas ng Bayan) prevailed. Together, the people barricaded the streets petitioning the government for changes and reforms. Newspapers and other Publications Newspapers which were once branded crony newspapers became instant opposition papers overnight. This was true of BULLETIN TODAY which became the opposition paper. Books The Philippine revolution of 1986 and the fire of its spirit that will carry the Filipinos through another epoch in Philippine history is still being documented just as they have been in the countless millions who participated in body and spirit in its realization. WHAT’S IN In your notebook, answer the following questions. 1.) Explain in three (3) sentences why literature is considered as the story of a man? 2.) How did Philippine Literatures develop from ancient time to present? Note to the teacher: Have your own assessment on the above What's In activity. You Also decide the scoring of this activity. Thank you. 11 TEXTS AND AUTHORS FROM EACH REGION LESSON 2 Competency 1B: Identify representative texts and authors from each region (e.g. engage in oral history research with focus on key personalities from the students’ region, province, and town, EN12Lit-Ib-22 (2 hours). WHAT I NEED TO KNOW At the end of this lesson, you will be able to: 1. enumerate Filipino authors across the regions; and 2. appreciate their contributions on the development of Philippine literature. WHAT I KNOW Instruction: Write T if the statement is true and F if it is false. Write your answer in your notebook. . Due to diverse environment, our ancestors developed separate cultures and beliefs. . Good number of performances can be found in video-sharing site like YouTube. . Rich biodiversity of the Philippines has made through archipelagic nature. . Our study of literature can help us understanding different cultures across the country. . llocos Region belongs to Region 2. . CAR Region stands for Cordillera Administrative Region. . Jose Ayala is a writer who comes from Region 10. . CARAGA Region is the same as CAR Region. . Our topography allows us to enjoy endemic flora and fauna. 0. Western Visayas region is part of NCR region. RWON et OONDOW 14 & WHAT'S IN In the previous lesson, you have already identified the geographic, linguistic, and ethnic dimensions of Philippine literary history from pre-colonial to the contemporary. Now, you are ready to move forward and learn more. WHAT’S NEW During a 2014 conference in Cebu City, Senator Alan Peter Cayetano remarked that the national government should stop giving the bulk of its national budget to Metro Manila alone. He said “Let us remember that Metro Manila is not the Philippines, and the Philippines is not Metro Manila. We should not always build in Manila. Other provinces and regions should share in the resources such as Clark, Zamboanga, Peninsula, Caraga and etc.” Providing equal resources to all regions of the country has been a continuous problem in more than a century of our independence as nation. The archipelagic nature of the Republic of the Philippines has made the country enjoy a rich biodiversity. Our topography, which consists of mountainous terrains, dense forests, plains, and coastal areas, allow us to enjoy endemic flora and fauna. As a result of this diverse environment, our ancestors developed separate cultures and languages. Our country has a total of 182 living languages. With these languages our ancestors communicated, built their communities, and created unique cultural products. Separated by seas, cultures, and languages, the Filipinos of today must consciously choose to maintain a united front in order for all of us to be truly equal and free as a people in one nation. How can we do this? Perhaps our study of literature can help point us toward the direction of understanding different cultures across the country, and hopefully this would provide the opportunity for a true sense of pride to grow within us for being part of this nation. 21° century technology can help propel this goal into something obtainable. With the help of the Internet, many contemporary authors from the regions are publishing their work online. Whether they are using their regional language, Filipino, or English, these young authors are beginning to speak a national audience about their reality. Some 21% century literature of the Philippines can be found in blogs, online newspapers, online magazines, online journals, etc. Also, a good number of performances of songs, skits, and amateur films showcasing regional works can be found in video-sharing sites like YouTube. 15 Motivation questions. From the article that you have read, answer the following questions: 1. What are the 5 important points that Senator Alan Peter Cayetano emphasized? 2. How do you describe the geographical location of the Philippines? 3. How do these contribute to the development of our literature? Texts and Authors from each Region This part shows you the various texts and authors from different regions in the country. . Cordillera Administrative » Region , ‘ . ' Regions of the Seats Philippines Ilocos Region oa acon (Autonomous Region in Italics) Central Luzon YCALABARZON National Capital Region . D Bikol Region Eastern MIMAROPA 3” Visayas yp oy Northern Mindanao Negros ‘ Island Central, arava sree Caraga 4 Zamboanga Peninsula Davao Autonomous Region @ in Muslim Mindanao a A GeoCurrents SOCCSKSARGEN Map 16 Region 12 - SOCCSKSARGEN or Central Mindanao Region- South Cotabato, Cotabato, Sultan Kudarat, Sarangani, and General Santos e Writers: Christine Godines-Ortega, Jaime An Lim Region 13 - CARAGA Region- Agusan del Sur, Agusan del Norte, Surigao del Norte, Surigao del Sur, and Dinagat Islands e Writers: Joey Ayala, Tita Lacambra-Ayala ARMM (Autonomous Region in Muslim Mindanao) - Asila (except Isabela City), Lanao del Sur, Maguindanao, Sulu, and Tawi-Tawi e Writers: Steven Prince Patrick C. Fernandez, Mehol K. Sadain Source: Beyond Borders (Reading Literature in the 21°' century) by MARIA GABRIELA P MARTIN et.al. SOME NOTABLE WRITERS FROM DIFFERENT REGIONS AND THEIR CONTRIBUTIONS TO PHILIPPINE LITERATURES Michael M. Coroza writes poetry, fiction, critical essays and is engaged in literary translation. The writer's works have been published in national and _ international literary magazines: Kritika Kultura, Philippine Studies, Unitas, Tomas, Bulawan Journal of Arts and Culture, Daluyan, Loyola Schools Review, and the Malay Indonesian Studies. He is famous for promoting the traditional poetic genre of the Philippines "“Balagtasan". He participated in international poetry readings "Kuala Lumpur-10" (2004) and the Second literary festival "Korea-ASEAN" in Jakarta (2011). Among his works are: ASEANO: An Anthology of Poems from Southeast Asia (1995), Dili’t Dilim (1997), Sounds of Asia (2011), Ang mga Lambing ni Lolo Ding (2012), and Nawawala si Muningning (2015). Source: en Ecce ce Source: panitikan.ph Retrieved: May 20, 2020 Retrieved: May 20, 2020 19 Source: http: art.net Retrieved: May 20, 2020 inoylit.hyperm MANUEL E. ARGUILLA (1911-1944) was an llocano who wrote in English. He was best known for his short story, "How My Brother Leon Brought Home a Wife", which received first prize in the Commonwealth Literary Contest in 1940. Most of his stories depict life in Barrio Nagrebcan, Bauang, La Union, where he was born in 1911. Source: http://pinoylit.h Retrieved: May 20, 2020 ermart.net Source: https://www.xu.edu | h/xavier-news Retrieved: May 25, 2020 Anthony Tan was born on 26 August 1947, Siasi [Muddas], Sulu. His degrees AB English, 1968, MA Creative Writing, 1975, and Ph.D. English Lit., 1982 were all obtained from the Silliman University where he edited Sands and Coral, 1976. For more than a decade, he was a member of the English faculty at SU and regular member of the panel of critics in the Silliman Writers Workshop. He taught briefly at the DLSU and was Chair of the English Dept. at MSU- lligan Institute of Technology where he continues to teach. A member of the lligan Arts Council, he helps Jaime An Lim and Christine Godinez-Ortega run the lligan Writers Workshop/Literature Teachers Conference. He also writes fiction and children’s stories. He has won a number of awards, among them, the Focus Award for poetry, the Palanca 1st prize for Poems for Muddas in 1993; also, the Palanca for essay. Among his works are The Badjao Cemetery and Other Poems, 1985 and Poems for Muddas, Anvil, 1996. Source: https://www.xu.edu.ph/images/Kinaadman_ Research Center/doc Retrieved: May 25, 2020 20 Source: songhits.ph Retrieved: May 28, 2020 José Ifigo Homer Lacambra Ayala or also known as Joey Ayala was born on June 1, 1956 in Bukidnon, Philippines. He was known for his folk and contemporary pop music artist in the Philippines, he is also known for his songs that are more on the improvement of the environment. He is a finalist of Philippine Popular Music Festival 2013. Source: songhits.ph Retrieved: May 28, 2020 “h" : Source: philstar.com Retrieved: May 25, 2020 Merlie M. Alunan graduated from Silliman University with an MA in Creative Writing in 1974. She teaches at the Creative Writing Center, University of the Philippines Visayas Tacloban College. She lives in Tacloban City. She received various awards like Lillian Jerome Thornton Award for Nonfiction, Don Carlos Palanca Memorial Award for Literature, National Book Award, Sunthorn Phu Literary Awards, and Ani ng Dangal. Among her works are Heartstone, Sacred Tree, Amina among the angels, Selected poems, Kabilin: 100 Years of Negros Oriental, Fern Garden: An Anthology of Women Writing in the South, Songs of ourselves: writings by Filipino women in English, and many other Source: philstar.com Retrieved: May 25, 2020 Source: https://en.wikipedia. org/wiki/lvy Alvarez Retrieved: May 20, 2020 Ivy Alvarez is a New _ Zealand-based Filipino Australian poet, editor, and reviewer. Alvarez has had her work featured in various publications in Australia, Canada, England, the Philippines, New Zealand, Ireland, Russia, Scotland, Wales, the US, South Africa, and online. Alvarez was born in the Philippines and grew up in Tasmania, Australia. While reading English at the University of Tasmania, she published in various literary journals and anthologies, and subsequently became the reviews editor of Cordite Poetry Review, an Australian online poetry journal. Source: https://en.wikipedia.org/wiki/Ivy Alvarez Retrieved: May 20, 2020 21 He turned to watch the graceful figure beneath the jar until it vanished around a bend in the path leading to the road. Then he led the bull to the well, and tethered it to a root of the mango tree. "The underpart of her arm is white and smooth," he said to his blurred image on the water of the well, as he leaned over before lowering the bucket made of half a petroleum can. "And her hair is thick and black." The bucket struck with a rattling impact. It filled with one long gurgle. He threw his hat on the grass and pulled the bucket up with both hands. The twisted bamboo rope bit into his hardened palms, and he thought how... the same rope must hurt her. He placed the dripping bucket on a flat stone, and the bull drank. "Son of lightning!" he said, thumping the side of the bull after it had drunk the third bucketful, "you drink like the great Kuantitao!" A low, rich rumbling rolled through the cavernous body of the beast. He tied it again to the root, and the animal idly rubbed its horns against the wood. The sun had fallen from the perpendicular, and noticing that the bull stood partly exposed to the sun, he pushed it farther into shade. He fanned himself with his hat. He whistled to entice the wind from the sea, but not a breeze stirred. After a while he put on his hat and hurriedly walked the short distance through the gorge up to the road where his cart stood. From inside he took a jute sack which he slung over one shoulder. With the other arm, he gathered part of the hay at the bottom of the cart. He returned to the well, slips of straw falling behind him as he picked his way from one tuft of grass to another, for the broken rocks of the path has grown exceedingly hot. He gave the hay to the bull, its rump was again in the sun, and he had to push it back. "Fool, do you want to broil yourself alive?" he said good-humoredly, slapping the thick haunches. It switched its long-haired tail and fell to eating. The dry, sweet- smelling hay made harsh gritting sounds in the mouth of the hungry animal. Saliva rolled out from the corners, clung to the stiff hairs that fringed the thick lower lip, fell and gleamed and evaporated in the heated air. He took out of the jute sack a polished coconut shell. The top had been sawed off and holes bored at opposite sides, through which a string tied to the lower part of the shell passed in a loop. The smaller piece could thus be slipped up and down as a cover. The coconut shell contained cooked rice still a little warm. Buried on the top was an egg now boiled hard. He next brought out a bamboo tube of salt, a cake of brown sugar wrapped in banana leaf, and some dried shrimps. Then he spread the sack in what remained of the shade, placed his simple meal thereon, and prepared to eat his dinner. But first he drew a bucketful of water from the well, setting the bucket on a rock. He seated himself on another rock and ate with his fingers. From time to time he drank from the bucket. He was half through with his meal when the girl came down the path once more. She had changed the wetted bodice. He watched her with lowered head as she 24 approached, and felt a difficulty in continuing to eat, but went through the motions of filling his mouth nevertheless. He strained his eyes looking at the girl from beneath his eyebrows. How graceful she was! Her hips tapered smoothly down to round thighs and supple legs, showing against her skirt and moving straight and free. Her shoulders, small but firm, bore her shapely neck and head with shy pride. When she was very near, he ate more hurriedly, so that he almost choked. He did not look at her. She placed the jar between three stones. When she picked up the rope of the bucket, he came to himself. He looked up--straight into her face. He saw her eyes. They were brown and were regarding him gravely, without embarrassment; he forgot his own timidity. "Won't you join me, Ading?" he said simply. He remained seated. Her lips parted in a half smile and a little dimple appeared high upon her right cheek. She shook her head and said: "God reward you, Manong." "Perhaps the poor food | have is not fit for you?" "No, no. It isn't that. How can you think of it? | should be ashamed. It is that | have must eaten myself. That is why | came to get water in the middle of the day--we ran out of it. | see you have eggs and shrimps and sugar. Why, he had nothing but rice and salt." "Salt? Surely you joke." “| would be ashamed..." "But what is the matter with salt?" "Salt...salt...Makes baby stout," he intoned. "My grandmother used to sing that to me when | complained of our food." They laughed and felt more at ease and regarded each other more openly. He took a long time fingering his rice before raising it to his mouth, the while he gazed up at her and smiled for no reason. She smiles back in turn and gave the rope which she held an absent-minded tug. The bucket came down from its perch of rock in a miniature flood. He leaped to his feet with a surprised yell, and the next instant the jute sack on which he lay his meal was drenched. Only the rice inside the coconut shell and the bamboo of tube of salt were saved from the water. She was distressed, but he only laughed. "It is nothing," he said. "It was time | stopped eating. | have filled up to my neck." "Forgive me, Manong," she insisted. "It was all my fault. Such a clumsy creature 25 " lam. "It was not your fault," she assured him. "I am to blame for placing the bucket of water where | did." "| will draw you another bucketful," he said. "| am stronger than you." "No, you must let me do it." But when he caught hold of the bucket and stretched forth a brawny arm for the coil of rope in her hands, she surrendered both to him quickly and drew back a step as though shy of his touch. He lowered the bucket with his back to her, and she had time to take in the tallness of him, the breadth of his shoulders, the sinewy strength of his legs. Down below in the small of his back, two parallel ridges of rope-like muscle stuck out against the wet shirt. As he hauled up the bucket, muscles rippled all over his body. His hair, which was wavy, cut short behind but long in fronts fell in a cluster over his forehead. "Let me hold the bucket while you drink," she offered. He flashed her a smile over his shoulders as he poured the water into her jar, and again lowered the bucket. "No, no, you must not do that." She hurried to his side and held one of his arms "| couldn't let you, a stranger..." "Why not?" He smiled down at her, and noticed a slight film of moisture clinging to the down on her upper lip and experienced a sudden desire to wipe it away with his forefinger. He continued to lower the bucket while she had to stand by. "Hadn't you better move over to the shade?" he suggested, as the bucket struck the water. "What shall | do there?" she asked sharply, as though the idea of seeking protection from the heat were contemptible to her. "You will get roasted standing here in the sun," he said, and began to haul up the bucket. But she remained beside him, catching the rope as it fell from his hands, coiling it carefully. The jar was filled, with plenty to drink as she tilted the half-filled can until the water lapped the rim. He gulped a mouthful, gargled noisily, spewed it out, then commenced to drink in earnest. He took long, deep droughts of the sweetish water, for he was more thirsty than he had thought. A chuckling sound persisted in forming inside his throat at every swallow. It made him self-conscious. He was breathless when through, and red in the face. 26 were always kept in working condition. But now . . .| wonder why he left all of a sudden. He said he would be gone for only two days... .” “| don’t know,” Tinang said. The baby began to cry. Tinang shushed him with irritation. “Oy, Tinang, come to the kitchen; your Bagobito is hungry.” For the next hour, Tinang sat in the kitchen with an odd feeling; she watched the girl who was now in possession of the kitchen work around with a handkerchief clutched | one hand. She had lipstick on too, Tinang noted. the girl looked at her briefly but did not smile. She set down a can of evaporated milk for the baby and served her coffee and cake. The Sefora drank coffee with her and lectured about keeping the baby's stomach bound and training it to stay by itself so she could work. Finally, Tinang brought up, haltingly, with phrases like “if it will not offend you” and “if you are not too busy” the purpose of her visit-which was to ask Sefiora to be a madrina in baptism. The Sefiora readily assented and said she would provide the baptismal clothes and the fee for the priest. It was time to go. “When are you coming again, Tinang?” the Sefiora asked as Tinang got the baby ready. “Don’t forget the bundle of clothes and .. . oh, Tinang, you better stop by the drugstore. They asked me once whether you were still with us. You have a letter there and | was going to open it to see if there was bad news but | thought you would be coming.” A letter! Tinang's heart beat violently. Somebody is dead; | know somebody is dead, she thought. She crossed herself and after thanking the Sefiora profusely, she hurried down. The dogs came forward and Tito had to restrain them. “Bring me some young corn next time, Tinang,” he called after her. Tinang waited a while at the drugstore which was also the post office of the barrio. Finally, the man turned to her: “Mrs., do you want medicine for your baby or for yourself?” “No, | came for my letter. | was told | have a letter.” “And what is your name, Mrs.?” He drawled. “Constantina Tirol.” The man pulled a box and slowly went through the pile of envelopes most of which were scribbled in pencil, “Tirol, Tirol, Tirol... ." He finally pulled out a letter and handed it to her. She stared at the unfamiliar scrawl. It was not from her sister and she could think of no one else who could write to her. Santa Maria, she thought; maybe something has happened to my sister. “Do you want me to read it for you?” 29 “No, no.” She hurried from the drugstore, crushed that he should think her illiterate. With the baby on one arm and the bundle of clothes on the other and the letter clutched in her hand she found herself walking toward home. The rains had made a deep slough of the clay road and Tinang followed the prints left by the men and the carabaos that had gone before her to keep from sinking mud up to her knees. She was deep in the road before she became conscious of her shoes. In horror, she saw that they were coated with thick, black clay. Gingerly, she pulled off one shoe after the other with the hand still clutching to the letter. When she had tied the shoes together with the laces and had slung them on an arm, the baby, the bundle, and the letter were all smeared with mud. There must be a place to put the baby down, she thought, desperate now about the letter. She walked on until she spotted a corner of a field where cornhusks were scattered under a kamansi tree. She shoved together a pile of husks with her foot and laid the baby down upon it. With a sigh, she drew the letter from the envelope. She stared at the letter which was written in English. My dearest Tinay, Hello, how is life getting along? Are you still in good condition? As for myself, the same as usual. But you're far from my side. It is not easy to be far from our lover. Tinay, do you still love me? | hope your kind and generous heart will never fade. Someday or somehow I'll be there again to fulfill our promise. Many weeks and months have elapsed. Still | remember our bygone days. Especially when | was suffering with the heat of the tractor under the heat of the sun. | was always in despair until | imagine your personal appearance coming forward bearing the sweetest smile that enabled me to view the distant horizon. Tinay, | could not return because | found that my mother was very ill. That is why | was not able to take you as a partner of life. Please respond to my missive at once so that | know whether you still love me or not. | hope you did not love anybody except myself. ! think | am going beyond the limit of your leisure hours, so | close with best wishes to you, my friends Gonding, Sefarin, Bondio, etc. Yours forever, Amado P.S. My mother died last month. Address your letter: Mr. Amado Galauran Binalunan, Cotabato 30 It was Tinang’s first love letter. A flush spread over her face and crept into her body. She re ad the letter again. “It is not easy to be far from our lover. . . . | imagine your personal appearance coming forward. . .. Someday, somehow I'll be there to fulfill our promise. . . .” Tinang was intoxicated. She pressed herself against the kamansi tree. My lover is true to me. He never meant to desert me. Amado, she thought. Amado. And she cried, remembering the young girl she was less than two years ago when she would take food to Sefior in the field and the laborers would eye her furtively. She thought herself above them for she was always neat and clean in her hometown, before she went away to work, she had gone to school and had reached sixth grade. Her skin, too, was not as dark as those of the girls who worked in the fields weeding around the clumps of abaca. Her lower lip jutted out disdainfully when the farm hands spoke to her with many flattering words. She laughed when a Bagobo with two hectares of land asked her to marry him. It was only Amado, the tractor driver, who could look at her and make her lower her eyes. He was very dark and wore filthy and torn clothes on the farm but on Saturdays when he came up to the house for his week's salary, his hair was slicked down and he would be dressed as well as Mr. Jacinto, the school teacher. Once he told her he would study in the city night-schools and take up mechanical engineering someday. He had not said much more to her but one afternoon when she was bidden to take some bolts and tools to him in the field, a great excitement came over her. The shadows moved fitfully in the bamboo groves she passed and the cool November air edged into her nostrils sharply. He stood unmoving beside the tractor with tools and parts scattered on the ground around him. His eyes were a black glow as he watched her draw near. When she held out the bolts, he seized her wrist and said: “Come,” pulling her to the screen of trees beyond. She resisted but his arms were strong. He embraced her roughly and awkwardly, and she trembled and gasped and clung to him... . A little green snake slithered languidly into the tall grass a few yards from the kamansi tree. Tinang started violently and remembered her child. It lay motionless on the mat of husk. With a shriek she grabbed it wildly and hugged it close. The baby awoke from its sleep and cries lustily. Ave Maria Santisima. Do not punish me, she prayed, searching the baby’s skin for marks. Among the cornhusks, the letter fell unnoticed. Sample 3 (poetry) Crossing the River Anthony Tan Came upon a river shrouded in mist. 31 1. Michael M. Coroza 2. Ivy Alvarez 3. Suzette Severo Doctolero 4. Anthony Tan 5. Manuel Arguilla Activity 2. Appreciating literary pieces. A. Noting Details. In your notebook, write the letter of your answer. FROM THE STORY “MIDSUMMER” BY MANUEL ARGUILLA 1. The two contrasting images in the story are__ a. aridity and freshness b. love andhate —_c. hope and despair 2. Manong came upon Ading beyond a bend in the gorge where a big __ tree cast a cool shade a. bamboo b. atis c. mango 3. Ading brought with her a___ when she met Manong. a. jug b. coconut shell c. pail 4. The story “Midsummer” effectively depicts the __. a. rural setting b. urban setting c. city life 5. The presence of Ading amidst the parch sorrounding added the sense of__. a. beauty b. freshness c. hope 6. The man showed his machismo to the woman by ___. a. inviting her to eat b. helping her to draw water cc. looking at her intently 7. Ading showed that she also liked Manong when she __ a. invited him to come to their house to rest b. went back to the gorge to fetch water again c. gave him water to drink 8. The author of the story was_. a. Aida Rivera-Ford b. Manel Arguilla —_c. Ivy Alvarez 9. "Son of lightning!" is referred to a. pig b. bull c. horse 10. The narrator of the storyis___. a. writer himself b. Ading c. Manong FROM THE STORY “LOVE IN THE CORNHUSk” by Aida Rivera-Ford 1. Tinang was married to a __ a. Manobo b. Bagobo c. Muslim 2. The post office of the barrio was the __. a. school b. drugstore c. barangay hall 3. Amado left the senora’s house because his __ was sick. a. mother b. sister c. father 34 4. The purpose of Tinang’s visit was to ask the senora to be the madrina in her son’s__ a. wedding b. confirmation c. baptism 5. “Love in the Cornhusks” was written by__. a. Aida Rivera-Ford b. Manuel Arguilla c. Joey Ayala 6. The story was entitled “Love in the Cornhusks” because___. a. Tinang received her first love letter b. Tinang remebered her lost love when she read the letter amidst the cornhusks c. Tinang and Amado fell in love in the cornhusks. 7. At what point in her life did Tinang make a serious mistake? a. When she married a Bagobo without waiting for Amado’s return. b. When she allowed herself to fall in love with Amado. c. When she left the serora’s house. 8. The main theme of the story is__. a. Making impulsive decisions in life can cause misery. b. The consequences of one’s action is irreparable. c. In making life’s important decision, it is better to think twice. 9. What did Amado say in his letter that made Tinang intoxicated? a. ‘It is not easy to be far from our lover. . . b. l imagine your personal appearance coming forward. . . c. Someday, somehow I'll be there to fulfill our promise... d. all of the above 10. What do these mean, “Ave Maria Santisima. Do not punish me"? a. Tinang realized that she should not have thought intensely about Amado. b. Tinang should not put her baby on the cornhusk to sleep c. both a andb B. Essay. Answer generously the following questions: 1. How did the man and the young lady cross each other's path? 2. Describe the young girl. What makes her attractive to the man? 3. How did the man show his machismo to the young lady? 4. Did the meeting of the couple end well? Prove your answer. 5. Do you know of other typical rural stories like this? If so, share to the class. WHAT I HAVE LEARNED Reflect on the learning that you have gained after taking up this lesson by completing the given chart. What were your misconceptions about | What new or additional learning have you literature prior to taking up this lesson? had after taking up this lesson in terms of contributions of the writers to literatures? 35 I thought...... | learned that... ASSESSMENT Instructions: What word in the box that corresponds to each of the following statements below. Write the letter of your choice in your notebook. a. Lourd de Veyra h. Anthony Tan b. Ralph Semino Galan i. Joey Ayala c. Internet j. Aida Rivera Ford d. blogs k. Ivy Alvarez e. Sen. Alan Peter Cayetano I. Manuel Arguilla f. magazines m. Merlie M. Alunan g. Suzette Severo Doctolero 9. . Through its existence, many conte¢mpoharathtbrorT ane publishing their online. i. Joey Ayala He is a writer associated in National CapitAidedgieaa Ford An example of 21 Century Literature & tHavPUNisBines. He remarked that government should ctop\4avlH bli of its national . m. Merlie"M. Alunan to Metro Manila alone. A writer who comes from Northern Mindanao. She is a Filipino screenwriter for film and television. ork budget He is a writer and Chair of the English Dept. at MSU-lligan Institute of Technology where he continues to teach. He is a singer and composer of “Karaniwang Tao” song. The writer of “Midsummer” 10. The writer of “Love in the Cornhusks” WHAT I CAN DO 3. use a Venn diagram in comparing and contrasting the 21° century Philippine literary genres and those in the earlier time. WHAT I KNOW INSTRUCTIONS: Read and answer the following statements. Write the letter with correct answer in your notebook. 1. These are forms of folk lyric that speak volumes of the typical rural lives and reflect people's aspirations and lifestyles. a. proverbs b. riddles c. songs d. epics 2. These are called sawikain or salawikain. a. riddles b. folk songs c. epics d. proverbs 3. These are long narrative accounts of heroic exploits. a. epics b. legends c. chants d. fables 4. It is a hybrid genre that incorporates elements of fiction and poetry in retelling of a personal experience. a. drama b. creative nonfiction c. creative fiction d. novel 5. Defined as narrative literary works whose content is produced by the imagination a. drama b. nonfiction c. fiction _d. creative nonfiction WHAT IS IT What is the definition of literary genre? Literary genre is a category of literary composition. Genres may be determined by literary technique, tone, content, or even (as in the case of fiction) length. The distinctions between genres and categories are flexible and loosely defined, often with subgroups. The most general genres in literature are epic, tragedy, comedy, and creative nonfiction. They can all be in the form of prose or poetry. Additionally, a genre such as satire, allegory or pastoral might appear in any of the above, not only as a sub- genre, but as a mixture of genres. 39 Finally, they are defined by the general cultural movement of the historical period in which they were composed. Genre should not be confused with age categories, by which literature may be classified as either adult, young-adult, or children's. They also must not be confused with format, such as graphic novel or picture book.-SHS Curriculum Guide, 215' Century Literature of the Philippines and the World. WHAT’S NEW INSTRUCTIONS: After reading the definition above, in your notebook, list down three examples of literary genres: 1. 2. WHAT IS IT What are the Literary Genres in the Philippines? The multiplicity of Philippine literature progressed alongside its rich history. Its themes are rooted in the context of the Philippine’s pre-colonial cultural traditions and the socio-political histories of its colonial and contemporary ways. However, some Filipinos encounter unfamiliarity with the literature of the past essentially due to what has been taught upon us, that our country was ‘discovered’ and, hence, Philippine ‘history’ began in March 1521. Through the comprehensive works of archaeologists, anthropologists, and ethnologists, we have known more information about our pre-colonial times established against loads of material about early Filipinos as recorded by chroniclers 40 of the past. Let us now look into the different Philippine literary genres that emerged through time: The Pre-colonial Period The Pre-colonial Filipinos demonstrated rich-lived experiences orally expressed in their folk speeches, songs, narratives, and indigenous rituals and mimetic dances. These are passed down from generation to generation. The most common of these are: a. Riddles — These are mystifying statements or questions phrased and rhymed to require ingenuity in determining its answer. These are presented as a game and considered as forms of entertainment during the earlier times. Talinghaga or metaphor is dominant in any riddles as it discloses subtle comparisons between unlike things, thus, wit and observation are required in this mental exercise. For the Visayans, these are called tigmo, for the Tagalogs, bugtong. For the llongos, paktakon and for the Bicolanos, atototdon. Here are the examples: Tigmo Baboy sa lasang (A wild pig in the forest,) Ang tunok puro lansang. (Is covered with spikes) Answer: Nangka (Jackfruit) Paktakon Ano nga tuboran Masulog sa tag-init, (What spring flow in summer) Ginabubsan kong tag-ulan?. (and run dry on rainy days?) Answer: Balhas (Sweat) b. Proverbs - These are called sawikain or salawikain in Tagalog or sarsarita in llocano. Philippine proverbs are wise sayings that prescribe codes of behavior, mirror societal norms, traditions, and beliefs and impart lessons in brief, rhyming verse. Read the examples below: tlocano on Guilt Hiligaynon on Suffering Ti agutak, (He who cackles) Kon indi ikaw mag-antos (If you don't sacrifice) Isut nagitlog. (laid the egg.) Indi ka gid magsantos.( You can’t be a saint.) 41 Taake asks for his father’s hook and line. With the aid of his magic, he establishes himself as an excellent fisher. One day, Taake, now a young man, ask his mother for clothes to go deep-sea fishing. The request surprises her, for Taake has never asked for clothes. Questioned, he explains that he is embarrassed to be naked in the company of ladies. Balo Libon then grooms her son. At sea, Taake hooks a fish with golden scales, but it drags him farther and farther away from the shore. The tug of war lasts for months, until an eel warns Taake to go home and offers him help to get there. But Taake only kills the eel. A storm develops, and Taake sinks. He sees a shore under the sea and sets foot on it. Finding a horse with his hook and line in its mouth, he pursues it with karisan or sword, but the animal escapes him. Taake has reached Keboklagan. Taake sees a tower. He climbs a ladder with golden rungs to reach the top of the tower. There, he finds a woman, nearly naked, sewing. Called the Lady of Pintawan, she invites him to chew mamagq. As they chew, their eyes meet an exchange message of love. Taake courts her for seven days. Finally, the Lady of Pintawan accepts Taake's offer of marriage. However, the romance is blocked by two men, Towan Salip and Soratan Domatong, who abhor the idea of the Lady of Pintawan marrying a Subanon. The two rally the folks of Keboklagan and urge them to kill Taake. The Lady of Pintogan, a close friend of the Lady of Pintawan, learns about the plot and flies on her monsala or scarf to the Lady of Pintawan’s place. She advises Taake to take his wife to Sirangan. Taake however, insists on his innocence and refuses to leave Keboklagan. He fights the people who attack him. In Sirangan, the Datu Tomitib Manaon dreams of a lone Subanon fighting in Keboklagan. When he awakes, he prepares to help Taake, whom he discovers has been away from Sirangan for a long time. Accompanied by two other datus, he proceeds to Keboklagan. Although they lose their way at first, they finally arrive at Keboklagan, following Taake’s route. Taake approaches Tomitib for fighting without first asking for the reason for the fight. Saulagya Maola, the datu of Keboklagan and the Lady of Pintawa's brother arrive. The Ladies of Keboklagan explain to him the cause of the fight. He recalls his promise to his sister that anyone who can climb the ladder with rungs of blades shall be his sister's husband. Saulagya Maola tells the two datus about the promise, but they insist on fighting. Saulagya, therefore, divides his kingdom between those who decide to fight and those who decide to withdraw from the battle. Tomitib Manaon asks Saulagya Maola if he can marry the Lady of Pintogan. But because of his incivility, she rejects Tomitib. Tomitib runs back to the crowd and starts fighting. Datu Liyo-liyo, hearing about the fight, rides his horse and proceeds to the battleground. Datu Liyo-liyo engages Tomitib in a hand-to-hand battle. Eventually, the datu of Sirangan defeats the datu of Keboklagan. 44 The datus then proceed to other kingdoms to fight further. First, they challenge the chief of Dibaloy, Datu Bataqelo. Lilang Diwata, his sister, renames Taake Malompyag, or “he fights in all places”. Taake and Tomitib would have exterminated the whole kingdom had compassion not overtaken them after half of the population had fallen to their sword. In Todong-todong, Taake and Tomitib are invited by its chief to chew mamagq before they start fighting. After the chew, they annihilate the kingdom. The datus then proceed to Walo Sabang, ruled by Egdodan Magsorat and Egdodan Sabagan, who themselves do not fight. Their subjects, however, are sufficient, for they get resurrected after having been killed. Taake tires after seven months of fighting and falls asleep, leaving Tomitib to fight alone. In Taake’s dream, a girl instructs him to disguise himself as Towan Salip Palasti and to go to the Tower of Walo Sabang to get magical medicines by which to prevent the enemies from coming back to life. When he awakes, he does as instructed, and he and Tomitib defeat the army of Walo Sabang. At one point in the battle, Tomitib falls dead, but the women of Keboklagan restore him to life. The massive destruction disturbs the god Asog. He descends to the earth and reprimands the Sirangan. He instructs them to go home and hold a buklog, in which each of them will be given his partner. Asog fans his kerchief, bringing the dead to life. The datus return to Sirangan, where Taake finds his mother dying of longing for him. He kisses her and she revives. All the datus of the different kingdoms are invited to a buklog, and Asog gives each of them a partner in life. f. Myths — These are symbolic narratives, usually of unknown origin and at least partly traditional, that ostensibly relate actual events and are especially associated with religious belief. Ancient Filipino myths include The Story of Bathala, and Ang Pag-aaway ng Dagat at Langit. g. Legends - These are stories that explain the origin of things and phenomena in the surrounding world. Some of the most famous legends are: The Legend of Maria Makiling, The Legend of Mayon, and The Legend of Sampaguita. h. Fables — These are brief stories for the children of the native Filipinos. These talk about supernatural or extraordinary people and usually follow in the form of narration that demonstrates a useful truth. These stories use animals as characters to represent a particular attribute or characteristic. One of the most orally narrated Filipino fables is Ang Kuneho at ang Pagong. i. Folk tales (Kwentong Bayan) — These are stories that deal with the power of nature-personified, their submission to a deity (Bathala), and how the deity is responsible for the blessings and the curses in the form of calamities. These are often passed on from generation to generation by word of mouth. 45 After knowing the literary genres of the Pre-colonial Philippines, can you cite local/ regional examples of riddles, proverbs, songs, epics, myths, and folktales? Share it in class. The Spanish Period The Spanish colonizers ruled the country for over 300 years. They used the cross to influence and impose their religion upon the natives. For more than three centuries of colonization in the Philippines, not only was our history as a nation altered but also our traditions, lifestyles, and belief systems. This has immensely influenced our literature. A shift of interest from writing about nature to writing about the Christian faith — of hymns, saints, miracles, and the teaching of the church, took place. Most of the writings were religious, secular, and at the latter part, propaganda and revolutionary. Religious matters were in the form of prose as prayer books, novenas, biographies of saints, and the likes. Senakulo, a Filipino dramatization of the life and times of Jesus Christ presented during the Lent, was widely held. Pasyon, Philippine epic narrative of the life of Jesus Christ, was written in stanzas with five lines of eight syllables each and focused on his Passion, Death, and Resurrection. Dalit (psalm), a song praising God or the Virgin Mary and containing a philosophy of life, also became popular. Secular or Non-religious literature also flourished. These are prominently tales of valiance and adventure. They include the following: a. Awit (Song)— These have measures of twelve syllables (dodecasyllabic) and are slowly sung to the accompaniment of a guitar or banduria. Francisco Baltazar's Florante at Laura is the best example for this. b. Kurido (Corrido) - These are metrical romances and tales that follow a structure of a poem. These have measures of eight syllables (octosyllabic) and recited to a martial beat. More often, these are tales of chivalry where a knight saves a princess. [bong Adarna is an example of this. c. Karagatan - This is a poetic vehicle of a socio-religious nature celebrated during the death of a person. d. Duplo —This is a poetic joust in speaking and reasoning. e. Prose Narratives — These are instructional materials that teach Filipinos proper decorum. Pagsusulatan ng Dalawang Binibini na si Urbana at Feliza (1864) is an example. f. Sarswela — This is a type of drama that originated in Spain. It includes singing and dancing on stage with lyrics alternatively spoken and sung in operatic and popular styles. The exposure of the Filipinos to Europe's liberal idealism, the martyrdom of GomBurZa, the Cavite Mutiny in 1872 and the Spanish Revolution in 1868 led to Filipino consciousness (Martin, Guevarra, del Campo, 2016). This gave birth to two crucial and historic movements during this time — the Propaganda movement and the Revolutionary movement which awakened nationalism. The Propaganda movement 46 d. Poetry —It is a verse and rhythmic writing with imagery that evokes an emotional response from the reader. Mina Roy defines poetry as “prose bewitched”. If fiction is concerned with plot action, poetry is “life distilled” through words and language. Poetry works via suggestion, implication, and ambiguity rather than straightforward communication. The art of poetry is rhythmical in composition, written or spoken. Poetry is for entertaining and exciting pleasure by beautiful, imaginative, or elevated thoughts. Mobile phone Text tula - A particular example of this poem is a tanaga, a type of Filipino poem, consisting of four lines with seven syllables each with the same rhyme at the end of each line - that is to say a 7-7-7-7 syllabic verse, with an AABB rhyme scheme. The modern tanaga still uses the 7777 syllable count, but rhymes range from dual rhyme forms: AABB, ABAB, ABBA; to freestyle forms such as AAAB, BAAA, or ABCD. Tanagas do not have titles traditionally because the tanaga should speak for itself. However, moderns can opt to give them titles. Text tula is often read on cellular phones. Hyperpoetry — It is a form of digital poetry that uses links using hypertext mark-up. It is a very visual form, and is related to hypertext fiction and visual arts. The links mean that a hypertext poem has no set order, the poem moving or being generated in response to the links that the reader/user chooses. It can either involve set words, phrases, lines, etc. that are presented in variable order but sit on the page much as traditional poetry does, or it can contain parts of the poem that move and / or mutate. It is usually found online. The earliest examples date to no later than the mid-1980s. Spoken word poetry — It is a poem that has made its way into the hearts and souls of thousands of Filipinos especially the millennials. It is a type of poem performed or read in artistic and emotive manner which can be accompanied by music or presented in the streets or bars, even café shops. It is an oral art that focuses on the aesthetics of word play such as intonation and voice inflection. It is a "catchall" term that includes any kind of poetry recited aloud, including poetry readings, poetry slams, jazz poetry, and hip hop, and can include comedy routines and prose monologues. The most viewed YouTube Filipino spoken word artist is Juan Miguel Severo whose original poems have been performed in TV dramas like On The Wings of Love. e. Fiction - Fiction has genres that can be defined as narrative literary works whose content is produced by the imagination and is not necessarily based on fact. In fiction something is feigned, invented, or imagined; a made-up story. 49 Examples are the following: vi. vii. viii. Short Story — This is brief fiction that can be read in one seating and is not able to support any subplots. Chick-Lit - This is a genre which addresses issues of modern womanhood, often humorously and light-heartedly. The genre became popular in the late 1990s, with chick-lit titles topping best seller lists and the creation of imprints devoted entirely to chick-lit. Although it sometimes includes romantic elements, chick-lit is generally not considered a direct subcategory of the romance novel genre, because the heroine's relationship with her family or friends is often just as important as her romantic relationships. Flash fiction — This is a style of fictional literature or fiction of extreme brevity. There is no widely accepted definition of the length of the category. Some self-described markets for flash fiction impose caps as low as three hundred words, while others consider stories as long as a thousand words to be flash fiction. Realistic Fiction — It is a story that can actually happen and is true to real life. Historical Fiction- It is a story with fictional characters and events ina historical setting. Horror — These are frightfully shocking, terrifying, or revolting stories. Mystery — It deals with unraveling of secrets and solution of a crime. Illustrated Novels — These are stories through text and illustrated images. Graphic Novels — These are narratives in comic book formats. Speculative Fiction — It is a term encompassing the more fantastical fiction genres, specifically science fiction, fantasy, horror, weird fiction, supernatural fiction, superhero fiction, utopian and dystopian fiction, apocalyptic and post-apocalyptic fiction, and alternate history in literature as well as related static, motion, and virtual arts. a. Science Fiction — It is a story based on impact of potential science, either actual or imagined and is set in the future or on other planets. 50 b. Fantasy - It is the forming of mental images with strange or other worldly settings or characters and invites suspension of reality. c. Humor - It is the faculty of perceiving what is amusing or comical. It is fiction full of fun, fancy, and excitement which meant to entertain. This genre of literature can actually be seen and contained within all genres. WHAT’S MORE INSTRUCTIONS: Using a Venn diagram, compare and contrast the various literary genres of the earlier periods and the 21° century Philippine literature. Focus on their themes, elements and styles. Do this in your notebook. Note to the teacher: Have your own assessment on the above What's In activity. You Also decide the scoring of this activity. Thank you. ASSESSMENT INSTRUCTIONS: In your notebook, write the literary genre described in each statement below. Choose your answers from the words found in the box. 51 Example 1: Old Women in Our Village (An Excerpt) by Merlie M. Alunan Old women in my village say the sea is always hungry, they say, that's why it comes without fail to lick the edges of the barrier sand, rolling through rafts of mangrove, smashing its salt-steeped flood on guardian cliffs, breaking itself against rock faces, landlocks, hills, reaching through to fields, forests, grazelands, villages by the water, country lanes, towns, cities where people walk about in a dream, deaf to the wind shushing the sea’s sibilant sighing somedaywecome somedaywe come someday.... Only the old women hear the ceaseless warning, watching the grain drying in the sun, or tending the boiling pot or gutting a fish for the fire, fingers bloody, clothes stained, scent of the ocean rising from the mangled flesh into their lungs. Nights, as they sit on their mats rubbing their knees, waiting for ease to come, and sleep, they hear the sea endlessly muttering as in a dream someday someday someday .. . Nudging the old men beside them, their mates—empty-eyed seafarer, each a survivor of storms, high waves, and the sea’s vast loneliness, now half-lost in their old age amid the household clutter— old women in my village nod to themselves and say, one uncharted day, the sea will open its mouth and drink in a child playing on the sand, a fisherman with his nets, 54 great ships laden with cargo, and still unsated, they say, suck up cities towns villages— one huge swallow to slake its hunger. As to when or how it would happen, who knows, the women say, but this much is true—no plea for kindness can stop it— nodding their heads this way and that, tuning their ears to the endless mumbling . . . . somedaywecomewecomewecome somedaywecomewecomewecome somedaysomedaysomeday (Reproduced by permission of Prof. Merlie M. Alunan) Explanation: The imagery in “Old Women in Our Village” (2012) is heightened through the use of sound devices. For instance, the cacophony in the first stanza implies strong feelings, like in the line “against rock faces, landlocks, hills.” Then euphony in the next stanza evokes pleasant feelings as in the line “the sea’s sibilant sighing.” This suggests an impending disaster, which is echoed in the rest of the poem. Gutierrez Mangansakan Il, an advocate of the Moro culture, is a filmmaker and writer from Pagalungan, Maguindanao. In 2001, his film House under the Crescent Moon won the grand prize for video documentary from the Cultural Center of the Philippines Prize for Independent Film and Video. Since then, he has made films that focus on the plight of women and children. Also, he was the editor of Children of the Ever-Changing Moon (2007), a collection of essays by young Moro writers. He became a fellow at the University of lowa’s International Program in 2008. Mangansakan wrote a short story entitled “A Harvest of Sorrows” for the collection Peace Mindanao edited by Jaime An Lim, a multi-awarded writer, it is also published by UST Publishing House in 2013. The story features a narrator whose experience mirrors Mangansakan’s experience in relief work. For him, the issue and images of refugees and displacement have always been a consistent element in both his films and writing. Example 2: A Harvest of Sorrows by Gutierrez Mangansakan II “A Harvest of Sorrows” begins with the narrator's arrival at an evacuation center at 9 AM in a remote village in Mindanao. He has come to give away several sacks of 55 rice to the refugees in the center. The refugees have fled their homes because fighting broke out in their villages. At the center he meets his friend Ayesha, the social worker who is in charge of supervising relief operations. Ayesha tells him that a woman in the center gave birth to a stillborn child, and the father does not know it yet. The father, together with the other men, has gone back to the village to guard the rice fields, where crops are ready for harvest in ten days. Later, while the narrator and Ayesha are having coffee, the latter announces that the father will be sent for and that the child will be buried after the noon prayer. Important Points « Each writer in the lesson tackles a theme that situates his or her work ina context specific to the region. e Merlie Alunan’s poem “Old Women in Our Village” depicts sea, an important part of life of the Visayans, as an agent of destruction and death. On the other hand, Gutierrez Mangansakan II's short story “A Harvest of Sorrows” highlights the plight of refugees from war. ¢ Context — This is the background of the text which may have been influenced by the author's life, language, society, and culture. e Imagery — This language awakens the reader's sensory perceptions through words and phrases. « Cacophony - This sound device refers to words or phrases with harsh sounds that create a disturbing tone. ¢ Euphony - This sound device refers to words or phrases with melodic sounds that create a calming tone. WHAT’S NEW INSTRUCTIONS: As your output for this lesson compose a-two stanza poem about nature using the sound devices cacophony and euphony. Write your answer in your journal notebook. ( B. LITERARY READING THROUGH A BIOGRAPHICAL CONTEXT WHAT I NEED TO KNOW INSTRUCTIONS: Read the essay entitled Silliman in the Seventies: A Personal Journey by Anthony L. Tan and answer the given questions. Write your answers in your notebook. Silliman in the Seventies: A Personal Journey (for Carlos Ojeda Aureus) Anthony L. Tan | remember the words of Rilke’s “Ninth Elegy”: Maybe we're here only to say: house,/ bridge, well, gate, jug, olive tree, window—/ at most, pillar, tower... but to say them, remember,/ oh to say them in a way that the things themselves/never dreamed of existing so intensely. Albert Faurot, the music teacher, gave me a bilingual edition of Rilke’s Duino Elegies and The Sonnets to Orpheus. His dedication “To another poet and friend” gave me one of the high moments of my life in Silliman. His End House was a favorite haunt for Butch Macansantos, Armando (my younger brother) and me; yet when he passed away, | was not even around to pay him my last respects. When for the first time | came to Silliman, | was trying to escape from the limitations of my island home in the Sulu Sea. | was in search of another island, disdaining a humdrum destiny that was mine at birth, the destiny my ancestors, even from their graves, seemed to have foisted on me. | had thought then that | was urged on, like Tennyson's Ulysses, by hunger for new knowledge. Even before this hunger had been appeased, a deeper kind of hunger was growing inside of me. It masked itself as the hunger to move about, but in reality, it was not wanderlust but, my enemies would think, the other kind of wandering and lusting. | must be kind and just to myself and think simply that this new kind of hunger grew out of the demise of an old love, unfortunately because of my immaturity. (Because, Mr. Kahlil Gibran, | did not at that time want to bleed upon the thorns of love; that | was not, unlike your sheaves of corn, ready for “love's threshing-floor’.) | wanted to make up for that loss and | thought a new island would be the right place to start anew because, in a manner of speaking, my old island home had been washed away by the waves of time and misfortune. So, it was then that in the summer of 1970 | found myself in Silliman.! was like a shipwrecked sailor who had come upon an island, and | was learning the names of things which | thought did not exist. Many things crowd into my memory when | look back to that time nearly 30 years ago. | remember the languor and rhythm of the afternoon, the horses’ hooves clip-clopping down the asphalt streets, the pleasant rattle the cochero made when he touched the spokes of the turning wheel of his tartanilla with the handle of his whip. In the noon heat the sea just off the boulevard would be shimmering and blinding as if someone had thrown a million shards of mirrors on the water. It was just like in the old 59 home with the sea breeze coming in from another island. The stead, white houses of the elite facing the sea reminded one of the relaxed atmospheres of the boulevard. Late afternoon it would be full of the happy sounds of children, their concerned parents or yayas watching over them. But there would also be wrinkled habitués promenading in the sunset, or into the sunset of their years. Meanwhile, the boats docked at the wharf, but soon to depart for other ports and to carry away someone to another country, to strange seas and climes. After sundown or early evening, as you walked down to the university cafeteria to eat supper, you would hear again the clip-clopping tartanilla pass by. And again late at night when you paused from whatever it was you were doing or reading. The ending of one of Nick Joaquin’s stories would come to life except that here there was no resonance or suggestion of romance but simply the humdrum sound of tartanilla. But who knows what was taking place behind the cochero? Maybe two lovers, coming home from a movie downtown, were kissing behind the cochero, their hearts beating each to each. Unbeknownst to a provinciano like me, living in this untroubled paradise, with only my yearning for love as a kind of unrelieved pain, deep trouble was already brewing in many parts of the land. There was profound discontent among the masses. The president, who proved to be a dictator, was stealing the money from the people and depositing it in banks outside the country, while his wife was buying shoes and shoes and vats of perfumes and body lotion to keep her young and beautiful. The generals were jockeying for power while their wives were ingratiating themselves with the First Lady. Meanwhile, the lowly-paid, underfed, ordinary foot soldiers were dying daily in the hinterlands of Mindanao at the hands of the communist rebels, or in the jungles of Jolo, redolent with the smell of durian and rotting lanzones, they were being slaughtered by roving bands of bandits and zealous mujahedeens. Unbeknownst to many in the country the president was planning to suspend the writ of habeas corpus and later to declare martial law. As a graduate student in English in 1970, | had to enroll in a creative writing class. In summer, this class happened to be the famous National Summer Writers Workshop. Although | had no ambition to be a creative writer, | was excited to be ina writers’ workshop. Here was an opportunity to sharpen my skills in writing even if | did not intend to be a writer. At that time | did not know what exactly | wanted to do with my life. Some of the writing fellows in the 1970 summer writers’ workshop, mostly from Manila-based schools like UP, Ateneo and De La Salle, have today become nationally famous, although not all of them turned out to be the poets that they at first thought they would be. Many of course are hardly heard of these days, deciding perhaps to do 60 something better. Some joined the underground movement in order to fight the coming dictatorship. In the aftermath of martial law some changed their occupations, becoming journalists instead or copy editors in some lucrative advertising firms. And some went abroad, to the U.S.A., to do something else like taxi driving. Taxi driving might seem embarrassing, but it is not without precedence in literary history, a precedence that moved Albert Camus to remark that art is gratuitous because look what Rimbaud did in Abyssinia after he had left the writing of poetry. The few who persevered have become well-known writers and are now harvesting the coveted awards that are given annually by the Manila- based weeklies and the Carlos Palanca Foundation. One name stands out today, Carlos Ojeda Aureus, the Bicolano writer whose book of short stories, Naguenos, is the Philippine counterpart of James Joyce’s Dubliners. The other famous name is Ricky Lee, a scriptwriter of Tagalog movies. And of course, there is Conrado de Quiros, a well- known columnist with the big time Philippine Daily Inquirer. There were others in that batch like Willie Sanchez, Albert Casuga and Celedonio Aguilar who for one reason or another have stopped writing. The members of the panel of critics in the 1970 workshop, aside from Dr. Edilberto K. Tiempo and Dr. Edith L. Tiempo, were Myrna Pena-Reyes, Raymond Llorca, Bien Lumbera and Mig Enriquez. In retrospect, the writing fellows and the critics formed an august body of intelligent men, but at that time, because of my ignorance and naivete, because of my lack of ambition to be a serious writer, | did not feel the awe that was due to this group of men and women. There is something about me that until now is not impressed by importance, literary or otherwise, but | take off my hat to kind, honest, intelligent men and women. Since | was not a writing fellow but a graduate student enrolled for credit, | had the leisure to sit back and listen 99 percent of the time to the fellows and critics discuss the manuscripts submitted to the workshop. | remember that the only time | had the opportunity to speak was when Dr. Lumbera thought that it would be good to let the fellows and the students talk first. Uncharacteristic for a timid person like me, | immediately, boldly grabbed the opportunity, opened my big mouth, bared my fangs like a dog lately unleashed. Having honed my critical sword in the periodical section of the old Silliman library, on the whetstone of such periodicals as Modern Fiction Studies, | decided to wield it on a short story that did not live up to the standards of good fiction, pointing out the failure of characterization and the consequent improbability of the story. Apparently, Dr. Lumbera noticed what | did because at the end of the session he approached me and talked to me about something, maybe it was about my work. | remember saying that | was looking for work because | had 61 brilliant comic action. We were all entertained. We all laughed, including the mustachioed victim of this joke who, we learned later, he invited to teach with him at the Ateneo de Manila. Except for the summer of 1976 when | was at the UP Writers Workshop in Diliman, | attended the Silliman workshop every year in various capacity: sometimes as a tour guide to the visiting writing-fellows from Manila and Cebu, the role being performed by Mickey Ibafez and Victor Padilla today; sometimes as an unofficial, unpaid panelist; and later with Butch Macansantos, as jester who entertained the writing fellows with ethnic jokes. | remember those long, carefree evening hours, lying on the ball-field between the men’s dorms and the nurses’ home, exchanging jokes with the fellows while above us the moon sailed by in the cloudless summer sky. The writ of habeas corpus was suspended in 1971. The rumor of martial law was in the air. The campus weekly was full of omens and portents of things to come, side by side with pictures of Fidel Castro and Che Guevarra as icons of rebellion and liberation. Although Mao was equally qualified to stand as icon, his picture was not often reprinted in the weekly because (and this is a wild guess because | did not know the editors of the paper) Mao had some ethnic resemblance to the aspiring dictator. Everywhere in the dormitory rooms, the walls were plastered with these pictures. The excessive presence of Che's bearded image moved one run-of-the-mill lawyer to complain that instead of Che the students ought to hang the picture of the clean- shaven Richard Nixon, then president of the United States. With his lower lip protruding, he asked in earnest, “Why not Nixon?” We would get free copies of various Marxist writings. Mao's little red book was easily available; the quotations were familiar. The Internationale, in English and Pilipino, sounded inspiring. When sung in protest against beauty pageants on campus, or some irrelevant cultural shows, it could move you to righteous anger. Let me hasten to add though that the airwaves were still dominated by American pop songs, by "MacArthur Park" and "Leaving on a Jet Plane." One day the late Senator Benigno Aquino came to campus, and everybody was at the gym to listen to him. A brilliant, charismatic speaker, he warned the country that Marcos was going to declare martial law, that the suspension of the writ of habeas corpus was merely a dry run in order to gauge the reaction or opposition of the body politic. According to Aquino, Marcos had repeatedly denied he was going to declare martial law, but don’t you believe Marcos, he said, because Marcos, Goebbels-like, was a congenital liar. | had heard of incorrigible liar and inveterate liar, but it was my first time to hear of congenital liar. Imagine, to lie as soon as you are born. True enough, exactly a year after the suspension of the writ of habeas corpus, martial law was declared. The night before September 21, we were already burning our piles of The Weekly Sillimanian, returning the little red book to its rightful owner, removing from the walls and cabinets the pictures of bearded heroes and replacing them with glossy pages from some magazines whose heroines had long legs but were not necessarily beardless. | learned early on that you can be a rebel but you don't have to go to jail: that when your enemy is pushing you against the wall, a quick change of hair, color or wave, is absolutely necessary. Put the hair somewhere. It can save your life. So, while some of my dormmates had to flee to the provinces, | stayed in the third floor of Woodward Hall, partly out of necessity because | didn't have the money to go to far as Zamboanga. There were three kinds of rebel-heroes. The real ones lived in the mountains, shoeless and in rags so that the suggestion that they were naked was not without basis; hence they were called hubad na bayani. The ones who believed they were rebels but who couldn't let a day go by without smoking imported cigarettes, and who devoured PX goods, were referred to as huwad na bayani. The last and worst kind of heroes was those who sold their souls to the regime so that they could enjoy the luxuries their neighbors were enjoying. They were referred to as tuwad na bayani because in order to sell their souls they had to bare something physical. It took Silliman a long time to open again, probably the last of the private schools to resume classes. The reason was that according to military non-intelligence, Silliman was full of rebels. It had that impression because the campus paper printed Marxist writings, and there was hardly a week when some pictures of Fidel or Che did not grace its pages. But as a matter of fact, there were hardly a hundred students who were really that serious about rebellion. | had been a witness in one protest march against a cultural show held in the gym. There were only about thirty placard-carrying students who marched and shouted in front of the gym. They hardly made adent on the show inside the gym until an agent provocateur advised them to get into the gym and do their shouting and marching there. Only then did they succeed in disrupting the show. But sheer number there was none. Out of a population of 5,000 students, you have only thirty. What percentage of the population is that? Is that enough to say that the campus was swarming with rebels. When school resumed some changes were in order. Before martial law, the physical setting of the campus was such that it was integrated into the larger Dumaguete community. Anyone could get in and out of the campus. After martial law, some wire fences had to be put up per instructions from the military. The freedom to move about was already restricted by the construction of gates near the dormitories. Curfew was imposed on the residents of the dorms. We had to climb the fence once the gates were already closed, or we had to cut away a few feet of wire to make a hole 65 in the fence. The administration, trying to toe the line, had to impose the wearing of short hair. In protest, one of my professors had his head shaven. It took sometime before the campus paper was given the license to operate again. When it came back there was none of the usual Marxist writings, absolutely none of the pre-martial law pictures. In its first year of resumption | was the faculty adviser, meaning my job was to see to it that no such thing happened in the paper. On the other hand, the paper did not sing praises to martial law, but went quietly to do its job as a campus paper and as a workshop for aspiring journalists of the College of Mass Communications. The presence of the wire fences and the uniformed security guards manning the gates made the campus look like one huge garrison. Under the seeming sense of normalcy there was a seething hatred for the dictator. The Silliman community as a whole consistently voted no in referendums and plebiscites when the dictator asked for a yes, and yes when he asked for a no. An excellent example of how students thought about the so-called virtues of martial law was the English translation of the propaganda /sang Bansa, Isang Diwa. An agriculture student from Leyte translated it as One Day, One Eat. Slowly, imperceptively, people got used to martial law like a puppy getting accustomed to its chains after several days of lusty protest. There were occasional outpourings of hatred for the dictator and his dragon lady. We as graduate students returned to the library to read again the complete works of such and such a poet. It was Eliot, then Auden, then Yeats and Frost and Dylan Thomas. Later it was Conrad, Lawrence, Joyce and James. Then the critics. Then the journals put out by American universities. We were becoming Anglophiles. Even on Saturday nights, when most of the undergraduates were out with their friends, we were in the desolate library poring over books or periodicals. It took me sometime to finish my thesis so | did not graduate until 1975. Caloy had finished earlier; and as soon as he had his master’s degree, he left Silliman and went to UP. Lack of ambition, lackadaisical attitude, and the desire to just stay on in Silliman campus were the reasons why | did not finish in two years. But one day it occurred to me that | wanted to move up to Baguio City. To inspire me to get the degree | wrote on a piece of paper Next Destination: Baguio. | pasted it on the mirror so that | could see it every morning. In one semester | finished the thesis and defended it in time for graduation in March of 1975. | went to Baguio with the intention of finally moving there, but when | saw the city | was disappointed. The UP Baguio campus was so small. The terrain of the city 66 ASSESSMENT INSTRUCTIONS: Answer the following questions. Write your answers in your notebook. 1. What is a biographical context? 2. What are different types of context? 3. What is a literary text? 4. Why do we need to consider the background of the author in understanding the meaning of a literary text? 5. What factors are to be looked into in using biographical context in understanding the meaning of a text? [ C. LITERARY READING THROUGH A LINGUISTIC CONTEXT ] WHAT I NEED TO KNOW OBJECTIVES: At the end of the lesson, the learners are expected to: 1. analyze the literary text through linguistic contexts and discuss how they enhance the text's meaning and enrich the reader's understanding; and 2. explain the relationship of context with the text's meaning. WHAT I KNOW 69 INSTRUCTIONS: Answer the following items by identifying whether they are true or false. In your notebook, write TRUE if the statement is factual, and if not write FALSE. 1. Socio-cultural context is about how literary works depicts the society. 2. Linguistic context concerns on the language used in the literary text. 3. In socio-cultural context, it is not necessary that literary work is connected to the society. 4. The use of sensory images by the author gives the readers a clear picture of the story. 5. Using simple language helps readers understand the literary texts. ere id Linguistic context is discourse that surrounds a language unit and helps to determine its interpretation. Example 1: Puppy Love (Excerpt) F. Sionil Jose We returned close to midnight from the district competition in a fleet of caretelas and parted in the school-house where we lift the odds and ends we used, the athletes their athletic equipment. We won in the dance competition. | walked Gina to her house. February and the cool night had a full moon sailing in the sky. | was hungry and so was she; we meet a few townspeople on their way from the movie house and they asked us how we fared. “We won! We won!” Gina gushed. | wanted to stay with Gina but upon approaching their house, all lights were on. They had some guests and | was too shy to go although | doubted very much if there was any food in our house. Explanation: “Puppy Love” by F. Sionil Jose is a story of love, tragedy, revelation and hope. The story is culled from Filipino life, it uses simple words, figures of speech (e.g., “full moon sailing in the sky’) and sensory images. The author knows how to play with the 70 language where the readers can visualize the subject, characters or settings in that way, they can understand its underlying meaning. Example 2: “Lyric 17" by Jose Garcia-Villa First, a poem must be magical, Then musical as a sea-gull. 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 | would like to hover God, smiling from the poem's cover. Explanation: + The interpretation of the poem “Lyric 17” by Jose Garcia Villa surrounds language unit that helps effectively determine the meaning of the text * This poem is about what qualities make poetry good. * The author in my opinion is trying to convey the right qualities that are required in a poem to make it satisfactory. + I think the poem feels passionate towards poem writing as can be seen through how instead of merely writing an instruction sheet on how to write a good poem" he instead writes a poem about good poems. * What more, the language he uses is fanciful and the metaphors and rhyming couplets indicates the thought put behind his work. + In the poem, the term “musical as a seagull” may indicate that the poem should be a rarity and something unheard of; “a diamond in the rough" very much alike how one has never heard of a musical seagull. The poem similarly should also be fluent. + Meanwhile "brightness moving” may indicate how poems should not be dark" it should be optimistic and pleasant and should not be constant" rather captivating and intriguing to one’s reader. 71 Ben Singkol F. Sionil Jose Ben Singkol is a 2001 novel written by Filipino National Artist F. Sionil José. It is about Benjamin "Ben" Singkol, who is described as “perhaps the most interesting character” created by the author. Based on José's novel, Singkol is a renowned novelist who wrote the book entitled "Pain", an autobiography written during the Japanese occupation of the Philippines. Through the fictional novel Singkol recalled the hardships experienced by the Filipinos during the occupation. Singkol was described to be a coward, a "supof' or an uncircumcised man who did not only run away from such a “ritual of manhood” but also evaded his “foxhole in Bataan when the Japanese soldiers were closing in’. Singkol was a “runner” or “evader” throughout much of his lifetime, while being haunted by the “poverty of his boyhood” and of the “treachery that he may have committed” in the past. In 1982, Singkol began receiving letters from a Japanese named Haruko Kitamura. WHAT’S NEW INSTRUCTIONS: Read again the essay entitled “Silliman in the Seventies: A Personal Journey” by Anthony L. Tan on pages 73-80 of your learning module. Write in your notebook your answers on the following questions: 1. In the essay, what type of language is used? 2. What have you observed on the use of words by the writer? 3. Does the writer convey the message of the essay? Why do you say so? 74 wes INSTRUCTIONS: Read the story entitled “Pinikas” by Jayson Parba and answer the questions. Write your answers in your notebook. Pinikas, Unang Bahin Fiction by Jayson Parba | May 3, 2015 DAKONG Balita: MAMINGKAHAY, MIDAGAN PAGKA KAGAWAD. Kini ang nakapakignat sa among mga silingan sa Baryo Panatayan. Sa ilang unang pagkadungog niini, ila ming gihimong pulotan sa bahal nga gitinda ni Nanay Pirmin nga among silingan. Ug usahay pod, samtang ang mga babaye gapanlaba didto sa Aplaya o gahingotoay man ganing dihas ilang pantawan, gapadparan sa hangin ang ilang diskusyon padulong sa among balay ug kini molusot sa mga buslot namong bungbong hangtod kini among madunggan. Dako gyod nga balita! Ambot ba pod, di nako masabtan nga misulod man sa alimpatakan ni Mama ang politika, kay sa tinuod lang gyod dili ko ganahan anang butanga. Alang nako, ang mga politiko puro mangingilad. Maayo lang na sila panahon sa kampanya. Saad diri, saad didto. Buhaton ko ni, buhaton ko na. Apan kon modaog na gari, hala! Makalimot na dayon. Kon inyong duolan para mangayog tabang, mangatol dayos ulo, dayon sa kilid. Morag among iro nga si Pusoy nga labihan kakutoon. Aha na kaha to karong buanga, ay? Mikalit lag kawala. Wala nay uli-uli human sa eleksiyon. Basig nabiktima to sa mga tambay didto sa ilang Nanay Pirmin. Matod pas mga tsika-tsika, dili daw na gapamili ang mga hangal. Bisag kagiron nga iro, basta luto na, lami na kuno kaayo! Kangil-ad. Sukad adtong bata pa ko, makaingon ko nga sikat na ang among pamilya sa among barangay. Sikat, dili tungod kay sapian o gamhanan ba hinuon. Dili pod mi pawerpol sama sa mga Singko nga maoy lider o dako-dako sa among baryo sukad pa sa panahon ni Cory. Matod pas mga tsismosa namong mga silingan, ngilngig daw na sila kay mokaon na silag bala aron lang magpabiling gamhanan isip mayor, kapitan, ug kagawad. Apan lahi ang among kasikat. Kini namugna diha sa mga liking bingka nga among ginasuroy kada sayos buntag sa tibuok Baryo Panatayan. Unang tuktugaok pa lang gani sa mga sunoy ni Tatay Bensyo nga among silingan, mamukaw na dayos Mama aron momata mi ni Manoy Onyot, Inday Jing-jing, ug Dodong Angelo. Sa tinuod lang, si Mama ang gabuhi namong tanan. Kon walay bingkang maluto, wala pod mi matak-ang sa abohan aron among makaon. Unsaon nga si Papa wala may klarong trabaho ug palahubog kaayo. Taman ra siyas hubog-hubog 75 samtang si Mama tawon, moabot sa mga hilit nga sityo sa among baryo aron lang mahalinan, sama didto sa Aplaya nga pipila lang ang tawo. Usahay pod, sa iyang pagpamasin moabot siya didto sa Malakdang kon diin daghan ang mga minerong ganahan mohabhab og bingka. Ug bisan mora na og kabaw si Mama sa pagpaningkamot, oki ra man kaayo ang among kinabuhi. Yano lang apan malipayon. Labi na gyod kon daghan siyag halin kay magpalit man dayon na siyag kok alang namong managsoon. Usahay pod, hotdog ang iyang paliton nga among ilogan ni Dodong Angelo. Apan daghan na ang nausab. Si Manoy Onyot tua nas Japan. Adtong una, abi nakog mga babaye lang ang puyde mag-Japayuki. Lakip man pod diay laki, no? Unsaon nga talentado man pod si Manoy. Maayo kaayo mosayaw. Humok og lawas. Matod pa niya, ganahan kuno kaayo ang mga matrona sa iya. Aw, sa akong banabana, medyo tisoyon man pod si Manoy Onyot. Matsohon pod og lawas. Ug unom ka buwan gikan siya milarga, gapadala siyag kwarta sa amoa. Misikat pod mi adtong higayona, uy. Kay di na man kinahanglan namo manuroy og bingka. Ang mga taga-Panatayan, gimingaw sa bingkang Mama. Matod pa nila, “Lahi ra gyod ang bingkang Minda.” Sa ilang mga gipanulti, mora daw silag mga palahubog nga wala na makainom og tuba sukad nga wala na mi nanuroyg bingka. Apan kadiyot ra kaayo to. Sa ikapitong buwan, wala na nakapadala si Manoy og kuwarta. Wala na mi balita sa iya. Ang mga panaghap sa among mga silingan, basin daw napreso si Manoy o di ba hinuon, nabiktima sa mapya. Simbako! Dili pod unta. Basin nagkaproblema lang seguro to siya o di ba kaha, basin pit-os lang gyod ang iyang kahimtang. Mao nga si Inday Jing-jing pod ang misunod pagpanglampit sa laing nasod. Sa Saudi man kuno to. Nagpa-helper. Nagkautang-utang si Mama adtong pag-adto niyas Manila aron mangita og agency. Maayo na lang gani, nakalarga ra gyod human sa upat ka buwan. Apan demalas gihapon. Adtong nagpadalag suwat si Inday Jing-jing sa amoa, basa kaayo ang aping ni Mama sa kasakit sa iyang dughan. Gibalita ni Inday nga ang iyang amo kuno mga maro ug mangtas kaayo. Gapanakit sa mga katabang! Mao nga misibat si Inday Jing-jing ug karon gatago-tago. Maayo na lang gani kay dunay mga Pinoy didto kon asa siya midangop. Malas gyod kaayo. Mao nga si Mama mibalik paglutog bingka. Kami pod nga iyang mga anak, mas nahimong kugi tungod kay kabalo mi sa kasakit nga gibati sa among inahan. Bisan gani si Papa mas nahimong responsable. Seguro iya pod naalimatmatan nga sobra na kaayo ang mga suliran sa abagang Mama. Talagsa na lang siya moinom. Dili samas una nga halos kada adlaw, galigid siya pirme sa kahubog. 76 Pinikas, Ikaduhang Bahin Fiction by Jayson Parba | May 10, 2015 Usa ka hapon, pag-agi nako didtos tindahan ni Ante Nita, maoy tapik sa mga istambay ang umaabot nga piniliay. “Unsaon na lang kaha ning atong eleksiyon, Pre, no? Morag haskang gubota.” “Gubot pas imong bungot, Pre.” “Ayawg tripingi nang akong bigote, Pre. Assit biya na. Haha!” “Tuod, Pre, tiamona? Apil si Kulas modagan pagka kagawad? Pastilan! Puyde diay na?” “Aw, apil man gani si Nong Karyo nga gabadhay-badhay nas katiguwang, modagan! Haha! Kon modaog siya, syur gyod ko nga dili niya mahuman iyang termino. Ma-terminit na siyag sayo!” dalag aksiyon og putol sa iyang liog. “Haha! Ug, in pernis, Pre, si Minda nga mamingkahay, modagan pod kuno!” “Lagi. Mao poy akong nadunggan.” “Taymsa, si Botyok man diay ni.” Nagpakaron-ingnon ko nga wa makadungog sa ilaha. Molakaw na unta dayon ko humag palit sa sigarilyo nga gisugo ni Papa kanako, apan ila kong giatubang. “Unya, kay modagan man daw imong mama, Tyok?” “Ha? Aw, lagi daw.” “Na! Basin biyag madagma na siya, ha?” maoy tubag ni Nong Kikong dala dayon og buhakhak. Midali-dali kog pauli human adtong panghitaboa. Dili ko gusto nga mahimong sentro sa ilang diskusyon ang among pamilya. Basin unya og di nako mapugngan ang akong kaugalingon ug makakita kog sumbagay. Apan, morag mihagyong nga buyog ang giingon ni Nong Kikong sa ako. Imbes nga masuko ko, ako hinuon kining gitagoan sa akong hunahuna ug giisip nga usa ka hagit. Magbantay lang gyod na silag modaog si Mama. Kataw-an ko man gyod na sila ba. Tan-awon ta lang! Sa dihang nagkaduol na ang kampanya, mas klaro na sa ako ang tanan. Ang mga kauban ni Mama sa iyang partido mao diay ang nangusog sa kabag-ohan. Ilang giatbangan ang tahoran na sa politika. Kon sa salida pa, silang mama ang kontrabida. Ingon ana man gyod nang politika. Ang mohagit sa mga karaan ang daotan, labi na kay wala man silay maikapasigarbo nga nabuhat na. Samtang silang nangaraan na, magpabida dayon sa ilang mga tulay nga napatukod, kalsadang napasemento, mga 79 tambal nga nahatag, mga hinabang sa kabos, ug uban pa kunong kamaayohan nga ilang nabuhat alang sa katawhan. Sa ilang mga tsismis nga gipakuyanap, "Unsa may mabuhat anang mga bag-o nga wala ma na silay kasinatian?” Tinuod pod baya ang uban nilang gipanulti. Apan sa ilang pagpahumot, ilang nahikalimtan nga sila gasingoton pod, gakautot, ug gakalibang. Hugaw gihapon. Sama ra god ni Kapitan nga siyam na ka tuig nga nanilbihan apan hangtod karon, igo ta mag-donate kunohay og kuwarta alang sa mga paliga sa Barangay. Basta pista ug summer gani, duna man dayoy paliga sa barangay aron ingnon nga bibo kuno. Mas bibo, mas progresibo kuno. Mao nay iyang giingon didto sa plasa. Mao pod nay panglantaw sa among mga silingan. Pero ambot ba? Kay alang kanako, dili man ang kabibo sa usa ka lugar ang basihan sa pag-uswag. Unsaon man nang bibo apan ang mga lumulupyo walay klarong trabaho? Ang mga tawo galangoy sa kalisod? Apan dili pod nako mabasol ang among mga silingan. Alang kanamong mga kabos, ang karon lang ang importante. Katawa karon samtang adunay kalingawan. Ayawg hunahunaa ang ugma nga walay kaseguradohan. Ingon ani mi. Apan akong naalimatmatan nga kini dili husto, ug maayo untag kini mabag-o. Haskang biboha sa among baryo adtong miabot ang adlaw sa kampanya. Mas bibo pas liga sa basketbol. Unsaon nga ang mga tao galibog man sa ilang pilian. Close fight kaayo kon sa dula pa. Mas mibibo gyod adtong misaka na didto sa stage ang mga kandidato aron lagi ila daw ipresenta ang ilang plataporma. Si Nong Karyo mipasalig nga ang iyang suweldo sa unang tulo ka buwan, iya kunong itunol sa kada sona aron adunay hinabang alang sa mga senior citizen sama niya. Haskang palakpak sa mga tiguwang pagkahuman niyag esplikar. Morag kalit nabaskog ang ilang huyang nang mga lawas. Si Nong Teryo nga tigbantay sa poultry sa Hapon, misalig nga modaog gyod daw siya. Ug tungod ana, iyang gigarantiya nga ang iyang unom ka buwan nga suweldo, iya pod kunong ihatag sa pito ka sona sa among baryo aron adunay health funds para sa mga masakiton nga kinahanglan og tabang. Unsaon nga sa kalayos among lugar sa siyudad, ang mga masalakiton nga gikinahanglan tambalan, kasagaran dili na moabot sa ospital. Mokalit lag piyong. Morag gakapuyon nas ilang kinabuhi samtang gauntol-untol sa dang lubaong ang sakyanan nga gamiton pagdala kanila sa ospital. lla segurong mahunahunaan nga mas maayo pa nga dili na lang momata kaysa mag-antos sa kasakit. Pagtawag sa ngalan ni Mama Minda, grabeng pagpaninggit sa mga tawo. Adunay kusog kaayong hugyaw nga makabungol. Nagpadaplin ko tungod sa santol didtos atbang sa stage kon asa adunay pipila ka mga tawo nga miapil sa pagtambong. Mora kog tuod nga di makalihok tungod sa akong kakulba. Sa akong hunahuna, unsa kahay isulti ni Mama? Maayo untag nakapraktis siya daan. Misaka si Mama sa stage nga gabaragbarag. Misamot akong kakulba. lyang gikuha ang mikropono gikan sa tigpaila. Palakpak. Kusog nga palakpak. 80 “Ako...kabawo ko nga kaila na man mo nako. Di ba?” Nangatawa ang mga tawo dalag singgit sa ngalan ni Mama. ”Minda! Minda! Minda!” “Aw ako? Karon dili ko manaad ninyo. Dili ko maghisgot sa akong plataporma. Unya nag modaog ko. Salamat. Salamat ninyong tanan!” Mitikang si Mama pakanaog gikan sa stage. Bisag gabaragbarag siya, akong nakit-an nga gatan-aw siya sa iyang tikang. Apan wa siya kabantay nga nasabod ang iyang tuong tiil sa wire sa mikropono, ug kalit siyang nahagba. Nakalitan ang mga tawo. Sa pagkapaspas sa panghitabo, apil ko nakalitan ug morag adunay bomba nga mitubo sa siyagit sa mga tao, ang uban bugal-bugal. Apan kalit pod mibangon si Mama nga morag kalit nakamata human uroma. Mibangon siya nga gangisi ug gabayawbayaw sa iyang kamot. Dayon milakaw siya palayo sa mga tawo hangtod nawala siya sa akong panlantaw. Bisan way nahot ang gibuhat ni Mama sa iyang kampanya, nanghinaot gihapon mi nga makalusot siya. Maayo na lang. Makabuhi na pod baya nag pamilya ang sweldos kagawad. Ug usa pa, gusto na gyod nakong mopadayon og eskwela para makahuman kog college. Maulaw man god ko moingon nilang mama samtang lisod kaayo ang among kahimtang. Kon moeskwela ko, mosamot ang kalisod nga bation ni Mama. Apan kon makadaog siya, aw, medyo arang-arang na lang. Lahi ra gyod ning naay politiko sa pamilya. Mas makaginhawa gyod tingali mi. Miabot ra gyod ang takna nga among gipaabot. Ang eleksiyon. Mora kog gipulgas nga iro nga dili mahimutang kay gusto man lagi dayon nakong mahibaloan ang resulta. Miadto ko sa tunghaan kon diin giihap ang mga balota. Daghan kaayong tawo. Mga watchers man daw to sila. Tigbantay aron mahimong hapsay ug limpyo ang inihapay sa boto. Ang ubang naa didto, igo ra nangayog paniudto nga pansit ug fried chicken nga gipanghatag kuno ni Kapitan. Aduna poy nagkagubot nga nanguha og sobre nga adunay tigbaynte pesos ang sulod. Ambot kang kinsa to gikan? Wala na lang ko nangutana. Nagsugod ang inihapay sa balota mga alas-sais sa gabii. Milili ko sa bentana sa usa ka classroom. |nig karon ug unya, makadungog kog lainlain nga ngalan sa kandidato. Ako pod usahay madunggan ang ngalan ni Mama. Ug sa hilom, akong giampo nga unta, modaog siya. Miabot nag halos ala una sa kadlawon ang inihapay. Adtong nahuman na og ihap ang mga balota, akong gilantaw pag-usab ang kada presento ug akong gikuha ang mga eskor sa kada kandidato, labi nga gyod ang boto alang kang mama Minda. Human, ako kining giihap gamit ang papel ug bolpen. Gakurog akong kamot samtang natataw ko ang numerong pabor kang mama. Sa kadlawon, migawas na gyod ang tinuod nga resulta. Akong nadungog nga minos og singkwenta ang botar alang kang Mama gikan sa numero pabor kang Nong Karyo nga naglukso-lukso sa iyang gibarogan. Nakapanghupaw ko. Mihinay-hinay 81 Literary Adaptation, Multimedia and its Forms Literary adaptation is the adapting of a literary source (e.g. a novel, short story, poem) to another genre or medium, such as a film, stage play, or video game. It can also involve adapting the same literary work in the same genre or medium just for different purposes, e.g. to work with a smaller cast, in a smaller venue (or on the road), or for a different demographic group (such as adapting a story for children) Examples: 1. The film “Bakit Hindi Ka Crush Ng Crush Mo?” (2013) The film is an adaptation of Ramon Bautista’s self-help book of the same name. Movie making or video making is an ICT skill where a more advance skills and knowledge have been developed. Its application from the original form which was a “novel” made into a new form that is a “movie” will deepen your knowledge of technology and how it works. These include practical skills like programming and coding. 2. The film “Diary ng Panget” (2014) Diary ng Panget (lit. Diary of an Ugly Person) (also known as Diary ng Panget: The Movie) is a 2014 Philippine romantic comedy film based on the best-selling novel of the same name written and published on Wattpad by Denny R. The film was directed by Andoy Ranay and stars Nadine Lustre, James Reid, Yassi Pressman, and Andre Paras. It was distributed by Viva Films and released on April 2, 2014. Multimedia means that computer information can be represented through audio, video, and animation in addition to traditional media (i.e., text, graphics drawings, and images). It is the field concerned with the computer-controlled integration of text, graphics, drawings, still and moving images (Video), animation, audio, and any other media where every type of information can be represented, stored, transmitted and processed digitally. Forms of Multimedia 1. PowerPoint Presentation with voice-over narration A PowerPoint presentation is a presentation created using Microsoft PowerPoint software. The presentation is a collection of individual slides that contain information on a topic. PowerPoint presentations are commonly used in business meetings and for training and educational purposes. Click these links to access on how to create a powerpoint presentation. https://www.youtube.com/watch?v=i8V7xj1 5f9w 84 https://www.youtube.com/watch?v=3uk4CU7uobM 2. Video Video is an electronic medium for the recording, copying, playback, broadcasting, and display of moving visual media. Visual multimedia source that combines a sequence of images to form a moving picture. It transmits a signal to a screen and processes the order in which the screen captures should be shown. Videos usually have audio components that correspond with the pictures being shown on the screen. Access this link to watch a tutorial on how to create a video. https://www.youtube.com/watch?v=sHeffRYnnys 3. Animated video INSTR respon Animated video is an engaging instrument that can help you tell your story more comprehensively. It brings concepts to life that text or live videos can't. Think about it: you can make your characters talk all you want, fly, or travel in time. With the help of animation, you can show how mechanisms and processes work. Use this link to watch a video tutorial on how to create an animated video. https://www.youtube.com/watch?v=FY4L7D-FoLA ASSESSMENT UCTIONS: Answer the given questions briefly and concisely. Limit your ses in 1-3 sentences. Write your answers in your notebook. 1. What is a multimedia? 2. What is meant by literary adaptation? 3. What literary works are usually adapted? 4. Why do we need to use multimedia? 5. How important is the use of multimedia in presenting a unique and creative ‘ WHAT I CAN DO ACTIVITY 1 85 From the list of multimedia formats discussed above, choose one which you think is appropriate in crafting your own adaptation of the book entitled “She’s Dating the Gangster’ by Bianca Bernardino. (If you haven't read the book yet, try to access the book for free in the Wattpad App) Here is a scoring rubric as a basis in rating your output. CATEGORY 5-Exemplary 4-Proficient 3-Developing | 2- Beginning Presentation Presentation . Presentation Presentation demonstrates a | demonstrates demonstrates . . demonstrates . high level proficiency little or no some proficiency Multimedia proficiency and and effective . proficiency or , and effective use . Technology effective use of a use of . , effective use en . . of a multimedia multimedia multimedia a ofa format. ‘ . format. format. multimedia format. .. | Content z Content iS | sometimes Content is not Content is well | organized but organized and A appears organized and all|one to two . there are more A . unorganized and " the important | important than five coat . there are three- | . Organization | events from the | event/s_ is/are . important . four important . adapted text are | missed from events missed events are present. the adapted . from the text. missed from the adapted text. adapted text. p Output Output presented Output Output . presented is . . . presented is aa ; is unique and presented is imitated from Uniqueness . somewhat exemplar. unique. . . another unique but plain. source. a oo Presentation is Presentation Presentation is | Presentation is somewhat is not very attractive attractive and Appearance and appealing to appealing to the viewers. the viewers. attractive and attractive and appealing to the | appealing to viewers. the viewers. WHAT’S MORE ACTIVITY 2 86 Competency 5: Do self- and/or peer assessment of the creative adaptation of a literary text, based on rationalized criteria, prior to presentation, EN12Lit-le-31.3 (4 hours). RUBRICS FOR SELF- AND/OR PEER ASSESSMENT OF THE CREATIVE ADAPTATION OF LITERARY TEXTS Rubric for Documentary Film/Video Presentation Name of Presenter/s: CATEGORY 5 4 3 2 The introduction is | The introduction | The introduction | The compelling and|is clear and | shows some | introduction provides motivating | coherent —_and | structure but | does not orient content that hooks | evokes interest | does not create | the audience the viewer from the | in the topic and|a strong sense | to what will beginning of the | response from | of what is to | follow. The Introduction | video and keeps | listeners. follow. May be | sequencing is the audience's overly detailed | unclear and attention. or incomplete | does not and is somewhat | appear appealing to the | interesting or audience. relevant to the audience. Students create an | Students create | Students create | The original, accurate | an accurate | an accurate | documentary and interesting | documentary documentary but | is not accurate documentary that | that adequately | itdoes not cover | and not an adequately covers | covers the topic | the topic the | appropriate the topic in an|inanappropriate| issue in an | length. appropriate length | length of time. appropriate of time. length of time. Tone, voice, | Tone, voice, | Tone, voice, | Tone, voice, graphics, and | graphics, and} graphics, and| graphics, and visual images | visual images | visual images | visual images convey interest and | frequently frequently rarely convey Technical | enthusiasm. The | convey interest | convey interest | interest or Production | presentation is | and enthusiasm. | or enthusiasm. | enthusiasm. clear and loud | The Most of the | The enough to be! presentation is | presentation is | presentation is heard. Composition | clear and loud | clear and loud | unclear and/or Content and technical | enough to be| enough to be | not loud production heard. heard. enough to be enhance the topic. | Composition Composition heard. and technical | and _ technical | Composition production production and technical usually enhance | sometimes production the topic. distract from the | absent or topic. 89 distract from the topic. Uses and cities Uses only one or Uses mostly Does not use Sources several reliable | two reliable | questionable outside or no sources (5 up). sources (2-4). sources. source Narrative has a| Narrative has a | Narrative is | No attempt at clear organizing | clear organizing | disorganized an organizing Structure | structure and flows | structure but structure is in logically needs some place improvement Changes the | Changes the | Uses more than | Uses only one screen image | media one medium, but | medium . and/or audio on a| sometimes to | does not engage Variety and | regular basis to | engage the | audience Placing engage the | audience, —_ but audience pacing could be improved Project is unique, | Project is | Project is nice | Project does not look like | somewhat and works, but is | appears others. It shows | unique, does not | not unique. It | forced, hard to creativity that | look like others. | has similar | follow. Has too works, it is not just | It shows a little | components as | many parts weird but exciting | creativity that | other that are and fresh. works. presentations strange and do The project clearly | The project | The project | not serve any shows that much | shows thatsome | looks like parts | purpose. Tried effort went into it. | effort went into | of it were thrown | to be creative Looks complete. All | it. Looks | together at the | but does not aoe the parts work as | somewhat last minute. | work. Creativity intended. complete. Most} Looks mostly | The project of the parts work | done, just needs | looks as if it as intended. some touch up | was put here and there. | together in a Some parts do | hurry. Still not work as| needs quite a intended. bit of work, just doesn't look done. Full of errors, parts don't work as intended. The documentary | The The The uses the | documentary documentary documentary appropriate uses more than} uses a_ high | did not use the Appropriate | terminology that is | the appropriate | percentage of | appropriate Level covered in the | terminology that | terms that is | terminology grade 12 course | is coveredinthe | used in lower | that is covered that can be | grade 12 level | grades (9-11). | inthe grade 12 that_cannot_be course. 90 understood by the | easily grade level. understood. Rated by: Date: Overall Score: /45points Feedbacks: Rubric for Drama Presentation Name of Presenter/s: Rated by: Date: Overall Score: /45points Poor Fair Good Awesome AREAS 5 pts 10 pts 15 pts 20 pts Poor Fair Good Awesome -poor writing -writing is fair -nicely written -well written -not very -some aspects | -creative -extremely creative are creative -suspense and creative Script -no attempt has | -some attempts | tension are built up | -suspense and been made to were made to well tension add suspense add suspense are built up ina and tension and tension very clever manner Poor Fair Good Awesome Group had Group was Group was Group was on Use of much difficulty sometimes on consistently on task 100% of Class Time | staying on task | task during work | task during work the time during during work sessions sessions work sessions. sessions Poor Fair Good Awesome Students are Sometimes Students stay in Students have not committed students are character actually to their roles. in character throughout the "become" the Role Play | The audience throughout the scenes and have roles they are does not believe | scenes. made a strong playing. in the Sometimes the commitment to Actors are characters. actors are their roles. 100% believable. Actors are believable in believable their roles Poor Fair Good Awesome Minimal props Some props and | Props and Many props Props/Costu | and costumes costumes were | costumes were and costumes ming were used to used to add to used effectively to | were included add to the the sense of add to the sense of | to add to the sense of drama_| drama drama sense of Feedbacks: 91