Module 1 & 2 James Funtanilla

Module 1 and 2
James Funtanilla
Philippine drama can be a combination of pure entertainment as well as ritual. In terms of enertainment, example, a short play can be used as entertainment in which the audience can enjoy the play for pure entertainment or interpret the play as a medium of understanding an issue. Philippine drama began as rituals in which the Filipinos enacted through prayer, dance, and song. These rituals were an important part of Philippine society that were always done. When the Spanish made contact, they too introduced their form of drama, in the form of a skit. Their drama was used to convince the natives that the Muslims were bad and that Chritianity was the way to go. Their form of drama was used to convert many Filipinos, the evidence of their role in Christianizing the Philippines is still scene throughout the Philippines. Americans also introduced their form of drama in the work of movies, which many Filipinos still enjoy and try to emulate. However drama in this sense doesn’t necessarily mean performing a play, but rather acting out a dramatized event. Rallies or marches are considered a form of drama for they portray dramatisization but instead of a rehearsed script it is usually done through improvisization.

Posted below are Rod and Krystel's Module 6 presentation, domestic violence script used at the Dramafest and the final oral answers.

PRESENTATION OF MODULE 6
Detailed Summary, Krystel and Rod's Reaction

Wanted: a Chaperone

The story starts off with the son asking for money from his father. The father doesn’t give him any because he finds out that he is making the same as he is. The son insists that he should be getting the allowance that he used to get and the father is enraged because the son stays at his house for free and doesn’t have to pay for food and yet he is still asking for money. The son replies that he has a lot of expenses. The father then finds out that the expenses the son is talking about is the presents that he has to give his girlfriend. The mom who enters the room and doesn’t know about what their arguing about gets informed. She then gets angry because kids now work and don’t give their parents any money and they still ask for allowance. The mom firmly states that the son will not get any money from them. The mom then calls the servant who has the same name as the husband. This upsets the husband because he doesn’t know who the wife is calling for sometimes. The servant on the other hand isn’t really there at times. His mind wanders off. At this time we meet the daughter and find that she has gone to a party without a chaperone. This act is apparently unacceptable to her father because someone her age should not go out with a boy without a chaperone. The mom then emasculates her husband’s words by stating that the Philippines is civilized and there is no need to worry and besides she argues that her daughter is educated and knows what she is doing. The father on the other hand thinks she is susceptible to moral falls. The parents then find that the son’s date also went to the party without a chaperone. The father is even more upset now because both his children went to the party without chaperones. The son argues that the times are different now and they are not the same as when his father was courting his mother. He argues back that although it is different the heart remains the same so they should have been chaperoned nonetheless. The new servant then becomes the new chaperone because the father seems that his kids really need to have one. Soon after the daughter’s date’s mother comes to the house to also express her anger about not having a chaperone present on their date. The son at this time is hanging around the house because he won’t take the jeepney to his girlfriend’s house. He keeps asking for taxi money. When the daughter’s date’s mom (Dolores) arrives she is mad. She is rude and starts insinuating things. THE PAGES GO MISSING FROM THIS POINT. The story continues with the daughter saying that she and her date had a fight and so she left him. The daughter’s date’s mom then tries to get the daughter interested in her son again. We also find that the new servant they had was Dolores’s old servant that she had fired earlier. The new servant then gets fired from their house also because he gets caught stealing cigars. After Dolores and her son leaves the mother asks the servant with the same name as her husband to make a wanted chaperone sign. When they are seeing the new servant out the door they see the son’s date and her angry father coming to the house. The mom then quickly asks the servant to change the sign to two chaperones instead of one.

I thought this play was great. It shows the conditions of the wealthy as well as the poor people of the Philippines culturally and socially. It was interesting to see how each of the members of the family were trying to live up to the expectations from themselves, from the other family members as well as society at whole. Reading the story as it unfolded was interesting. The children of the play reminded me a little of myself when I was growing up – confused, disillusioned and naïve. The play clearly showed that the parents were losing control of their children. Although their parents said what they needed to say their children did not heed those words that they uttered. The parents, whom I think knew that their children ultimately had control of their decisions and destiny they talked to them in hopes that maybe they will listen. This is much more that what parents today are now doing. All in all the story teaches us a lot about our own people, our culture and our society as Filipinos. This is a great story to use as a part of a drama curriculum.

Bukel ti Rengngat

This story was a lot harder to comprehend because there were several deep and complicated Ilokano words used in every sentence. Also, I did not know who was who, what sex they were, what was going on and why until towards the middle of the first scene because it didn’t give a description of the acts in the beginning.

The story is about a man and a lady who were once married and the man’s new wife. The story starts off with Linnaay (Female, the first wife) teaching a dance class. Damiyao (male, the ex-husband) then comes in. Linnaay is mad because Dimayao left the dance to come and see her. Dimayao says that Linnaay doesn’t dance with happiness anymore and that she should so that she can show him and the tribu that she doesn’t harbor any hate or anger towards him. Linnaay who is sad and a little replies that she doesn’t hate him but she wont dance just to prove that she doesn’t. Linaay then remembers how happy they once were. It is at this time that we find that they both were married before and that they separated because Linnaay could not have children. They were married for 5 years. They both talk about what a child could have brought them in life. Damiyao explains to her that he needed a child to take on his name in their country and that is why they had to separate so that he could find someone else to bear his child. Linnaay cries that she doesn’t want to live anymore and that dying is what she wants so that her misery can end. She says that she is not happy. Damiyao explains to her that she has other chances for happiness. Linnaay says that she doesn’t want a different happiness she says that he was her happiness. Linnaay then professes her jealousy for Dimayao’s new wife Nimmay. She says that she is young and lucky. She says that maybe she will be able to give him what he needs. Damiyao says that she will but no one is as hard working as she is. Linnaay says that she wants to leave the house but Damiyao says that he had built the house for her and so she could stay as long as she wanted. She also wanted to give back her necklace that had belonged to Damiyao’s mother. The people at this time are calling for Damiyao. Linnaay tries to force him out but he doesn’t want to leave until he knows that “awan ti sakit ti nakemna”. Nimmaay then comes to Linaaay’s house to look for Damiyao. Nimmay talks to Linnaay and says that no one is happy about their situation. They get to talking about the other one is lucky and they get to the conclusion that maybe it isn’t Linnaay who cannot have children but it is Damiyao. We then learn at this point that the Tribu was the one that separated Linnaay and Damiyao which explains why Damiyao still loves her. It also explains Nimmay’s jealousy towards Linnaay because Damiyao did not necessary leave Linnaay on his own. Nimmay then worries that what happened to Linnaay might also happen to her. They both then wonders why the Tribu controls so much. Linaay then asks the real reason why Nimmay came to her and she responds that stuff happen. All of the sudden Linnaay’s head hurts. Then all she sees is darkness. She get’s dizzy and then falls. Linnaay then closes her eyes and passes away. Nimmay is crying for her when she realizes that Linnaay has a lump on her stomach and that she is pregnant. Dimayao comes running and screaming Linnaay’s name but it is too late.

This story was touching as well as frustrating. The reason for my mixed emotions is that it makes the reader conclude that love does not always conquer all. In my eyes this is a story of female suffrage. Maybe I am being overly dramatic or one sided in this but I cant help but feel this way when not one but two women die (literally for one of them). I say that two of them die because what is left in Nimmay than to think and understand that Damiyao and Linnaay still love each other and that if they were not facing the circumstances they were facing she would not be in the picture. She clearly loved Damiyao as well and to think about and know for the rest of your life what she experienced then I myself would die inside too. The perception I hold for Damiyao is that he is the opposite of the stereotype given to men. Usually, I do not support stereotypes but I believe his case was special. I thought that he should have clearly stood up for his love for her. I understand that he had wanted children and that children are of great value to him and the society that he lives in but there should have been else that could have been done. I, for one have not the slightest idea of what he could have done in order to avoid the events that occurred in the story. I also do not have any idea on how he could have further alleviate the pain that Linnaay suffered but when two people clearly love each other and want to be together there is always another way to resolve whatever problem stands before them. It was depressing and heartwrenching to read at the ending that she was pregnant. All that ran through my mind was – DISASTER!. To this point, I still feel like that. It makes me mad. I cannot help but think - what a waste!

These stories are very important because they express the coming of change. In all the stories in module 6, you can easily sense that there are many changes going on in the lives of these Filipino characters. These changes seem to come about unexpectedly and seem to catch the characters during times when they can never be brought down. However, when they do happen, the problems bring about a change in the people in the story which inevitably makes them better in the end.

In class, we discussed how you need to reach rock bottom before you can realize that there needs to be a change. I thought that this is very true because only during those times are you able to see the problems and then you will know what can and needs to be changed. This ties in with much of the struggles that the characters within these stories have to face within their lives. They are taken down to a level of deep despair where they are only able to fix themselves to make things better.

____________________________________________________________________

Gibusan ti Kinaranggas iti Taeng – Dramafest Fall 2007

Rod Antalan and Krystel Coloma

Scene one
Setting: In the living room, they are fighting. Monday night.
Props: beer bottle

WIFE: Apay nga ar-aramidem daytoy? Ania kadi ti dakes nga inaramidko.
HUSBAND: Apay? Sika’t akimbasol no apay nga kastoyak!

WIFE: Awan met ti madi nga inaramidko. Kaasianak. Isardengmon.

HUSBAND: Agsardengka nga agsang-sangit.

WIFE: Diak matepdan.

HUSBAND: Dinak pagbalbalinen nga tanga.

HUSBAND: Ti kunam ket ammom ammin ta naka-adalka.

WIFE: Ania ti ibagbagam…..

HUSBAND: Apay awan kadi ti ammok.

WIFE: Saanko nga ibaganga nga awan ti ammom.

Scene two
Setting: In the bedroom, it is the morning after the fight. Tuesday morning.
Props:

HUSBAND: Honey, pakawanenak para iti inaramidko idi rabii. (He caresses her face)
WIFE: aw….(talks softly) Nasakit.
HUSBAND: Dispensarennak ta dinangranka. (he starts crying)

WIFE: Bay-amon. Saanka nga agdandanag. (comforts him).
HUSBAND: Saankonto nga araramidenen.
WIFE: Saanka nga agibit. Saan unay a nasakit.
HUSBAND: Ilutuanka iti pammigatmo.

WIFE: Saanen.

HUSBAND: Agididaka latta.
WIFE: Maladawkanton.
HUSBAND: Saan…. Ditaka latta.
WIFE: (feels queasy…reaches over to the trash can and throws up).

Scene three
Setting: In the living room, afternoon. Tuesday afternoon.
Props: phone

WIFE: (She is cleaning, the phone rings) Nang, inaramidna mannen. PAUSE. Nasayaat nga tao isuna no saan nga nabartek. Adu ngamin ti stress ti pagtrabahuanna. PAUSE. Saanko nga maibaga kenni dadakkelna ta ti ammoda ket napintas nga tao isuna. Saanko nga kayat nga ipakita kenkuada ti naalas nga langana nga kasla kenni tatangna. PAUSE. Saanko nga matalawan isuna. Masapulnak. Ay-ayatek isuna. Ken ammok nga ay-ayatenakmet. No talawak isuna ket masapul nga ipaawiddak dita. Ammom nga saan pay simmangpet ti papelesko. PAUSE. Awan ti maitulongko no addaak dita nang. PAUSE. ken christianotayo saan nga mabalin ti agdivorsio.

PAUSE. Sinnonto’ ngarud ti mangbayad ti agasyo ken dagiti panageskuelada addingko. (throws up) Diak ammo no apay nga kanayonak nga agbakbakuar. (look out the window) Addan. Wen wen wen nang inakto agpadoctor.
HUSBAND: (calling out wifes name sweetly, sees wife throwing up) Hi! (he realizes she looks sick) Masakitka?
WIFE: Saan. Addansa kinankko nga di kayat ti buksitko.
HUSBAND: Para kenka (holds roses out)
WIFE: semi-smiles. Nagpintasdan.

HUSBAND: Adut stressko ngamin. Daytoy ngamin pagubraak. Saanko maawat dagiti ibagbaga dagiti kaubraak ken boosko. Kankanayondak nga oyoyawen ken pagbalinandak pay nga torpe. No kuma nageskuelaak idiay pilipinas nga kasla kenka ket maymayat koma ti pagtrabtrabahuak itan.

WIFE: Saanka nga torpe. Narigat laeng ti trabahom. Inkanto ngamin mangsapul ti sabali nga pagubraamon

HUSBAND: Padasekto ngem bassit met laeng ti ammok…agdalus ken agmula laeng.

Scene four
Setting: In the kitchen and living room, dinner time. Wednesday night.
Props: beer bottle, car keys, an EPT

HUSBAND: (Walking around, looking out the window) Napananna daydiay torpe a babai? Adda ngata sabali a lalakina? (Go into the kitchen)

WIFE: (rushes in the house…doesn’t know he’s already home) Ay.. Nakaladladawen. Saanak pay nakaluto.

HUSBAND: Ukininana! Napanam? (Husband comes after her and Wife walks backward.)
WIFE: (pleads) Awan…..Napanak nagubra laeng…. Adut trabahomi ken traffic.

HUSBAND: Ti ammom ket saanak nga nabannog no agawidak. Awan naluto ken awan sabali a makan. Ayanna ti kanek? Adda ngata sabali a lalaki a ilutlutuam.

WIFE: (crying) Saan! Siksika laeng!
HUSBAND: Ania ngarud dayta ma-angangotko nga cologne ti sabali nga lalaki.

WIFE: Ania nga cologne. Awan ti sabali nga ayayatek!

HUSBAND: Ukininam! (husband gets his car keys and wife is crying).

WIFE: Papanam?

HUSBAND: Mapanak sumapol ti sidak ta dimo sa met ammo ti agluto. Sadot! (Wife cries…lays down on couch).

Scene five
Setting: In the living room, just woke up. Thursday morning.
Props: jacket and shoes for the husband to put on

WIFE: Nakasaganakan! Nakasapsapaka met nga mapan agtrabaho. Agurayka ta ilutuanka ti pangbigatmo.

HUSBAND: Bay-amon, Innak latta gumatangngen. (Husband leaves…she looks sad).

WIFE: (Throws up). Apay ngata nga kankanayonak nga agsarsarwa. (thinks…comes to realize) Ay…apo….saan….saan saan ngata.

WIFE: (shuffles through things) Napananna tay EPT. (go behind curtain) Nakabaybayag met daytoy….alisto alisto….(pause). Ay apo!

Scene six
Setting: In the kitchen. Thursday night.
Props: plates, forks and cups

WIFE: (eating dinner).Lakay, masikogak.

HUSBAND: (gets up from chair). kitaem…adda kamalalam. (wife stands and goes to husband).

WIFE: Ania ti abagbagam, bagim daytoy (husband shoves her away).

HUSBAND: Bastoska. (Starts hitting wife).
WIFE: Isardengmo man. Masaktam ti tagibita.

HUSBAND: Saan met nga bagik dayta apay koma nga isu ti parikutko.

WIFE: Saan anakmo….anakta. (loud knock on door).

POLICE: Police! Open the door!

____________________________________________________________________

Answers to the Oral Final

1. The historical beginnings of Philippine Drama: plot it, by narrating landmarks.

Pre- Spanish

- rituals and ceremonies for various points in everyday life

- Songs and dances

- rituals/performances during wakes

Spanish period

- comedia- religious verse citations/plays

- komedya/moro-moro-comedia adapted to display struggles between lovers of Christian and Muslim religious backgrounds. War occurs because of their relationship.

- Religious drama-dramas to bring people to church

American colon. Period

- Sarswela- play with music, scripts, and stage about domestic life

- Drama- prose play, this type of theater led to seditious plays

- Bodabil-started as a variety show, then turned into burlesque skin shows

- Philippine theater in English - influenced by Americans b/c they were writing and speaking English in schools

- Return to Vernacular - theaters were having less crowds. Realized it was because of the language used. It was not their own.

The Contemporary

-The drama now reflects all of the past theaters. Now they reflect problems prevalent in Philippine life.

2. The structure of drama as ritual in Philippine culture: concept, performance, and community issues.

Rituals have always been a structure of drama. Talk about rituals and ceremonies/ songs and dances. Even Customs like the dung-aw etc… all of these are touching back to how things were before colonization influenced us a lot. But what is important is that we are holding onto these old dramatic forms to this day.

3. The structure of modern Philippine drama: concept, performance, and community issues.

Modern drama today reflects the changes that have been made to drama over the last hundreds of years. The performances have been modified to fit the life of the Filipinos. They reflect many of the problems that occur in daily life such as with politics, religion and even problems within family.

4. The intricate connection between Philippine drama and Philippine history and society.

Drama has always been a part of Filipino life. Before foreign colonization, we used to perform rituals/ceremonies, and sings songs and recite poetry. We have always had a connection to drama even though it was never called drama until after colonization. This is important because these dramas help connect us to Filipinos far away from us. The connection between all of these is that they display what is happening in the Philippines today. They express our feelings towards certain aspects of life and help to serve as an outlet for us to do so.

5. The intricate connection between Philippine drama and the Philippine revolutionary struggle in the various colonial experiences of the Philippine nation.

What we consider to be contemporary drama today would not be possible if it were not for the revolutionary struggles and colonial experiences that happened within the Philippine nation. Our pre-colonial drama was greatly influenced by the foreigners that came to power within the Philippines. They helped to establish new forms of drama into the Philippine way of life by introducing things like the komedyas and religious plays. These new kinds of drama lead to newer forms in which we used to express our displeasure with certain rulers. Things like seditious plays were brought about so that we could have methods of saying without saying. All of these influences upon the Philippine theater have lead to modern what we consider modern Philippine drama.

6. The intricate connection between Philippine drama and community action--or Drama as a Tool for Community Engagement/Liberation/Education (Draw from your own experiences while you were taking up the course)

Many of the Philippine dramas described the problems occurring within the Philippines. These problems were cause by unjust social structures, feudalism, corruption, imperialism. This brought about performances leaving the theaters and the movement of the drams into public plazas, community playgrounds, and even onto the street. This ensured that anyone could potentially be part of the drama because there were no boundaries set by an actual theater stage. This kind of drama found its audience and spoke to them directly. This is apparent within the videos we saw in class because we saw the audiences involvement in the drams themselves. The EDSA anniversaries are celebrated not only by those on stage but it includes the audience or the public. This helps to ensure that everyone is aware of the problems and educates them on what needs to be done and helps them to learn how.

7. A cultural mapping of Philippine dramatic forms and EDSA 1 and EDSA 2.

EDSA1 and 2 brought about a change in what was considered theater drama. The theater was no longer limited to a stage within a building any longer. It was brought out into public places to spread the message of what needed to change during the times of corruption and dictatorship. This new form of drama did not have an audience that solely watched what was being presented but rather involved the audience making them part of the drama. This was how the performers connected with the audience on a much deeper level to become successful in getting what they wanted. This was what helped to make the people power movement so great.

8. The possible uses of Philippine drama

I believe that drama’s most important use is that it has the power to convey a message. You are able to take drama and put into it whatever message you would like to spread. This is why dictators put so much effort into trying to ban these forms and keep them hidden from the public. But the good thing about a drama is that you are able to modify them to still carry on your message. An example of this were the seditious plays where people wanted to express their feelings about certain problems and had to conger up new ways of doing it.

9. Cite dramatic works you have studied that depicts social, cultural, and political conditions of the Philippines.

One of the most important works we learned about was that of Gabriela Silang. Her story helped to showcase the problems during the time of Spanish colonization. She was married to a man who was deep into the underground world of what was considered rebellion by the foreign forces. After his death, she took it upon herself to organize her own rebellion against the Spanish. This was an important story because it showed the strength of the people during a time where it just seemed hopeless. The political problems which arose during those times made it difficult for the Filipino people to be happy even in their own homeland. Her strength and determination as the first Filipina revolutionary leader isa still a great inspiration for the Philippine people today.

10. Think of a way to use drama as an educative tool for heritage language learning and teaching--and for community involvement and engagement.

I think that the best way to actually use drama as an educative tool for heritage language learning and teaching is to have classes like this one. Before actual classes like this one, I was oblivious to the fact that the Philippines had so many forms of drama. It wasn’t until I was exposed to them from what we learned in class that I was able to see that there was more to Philippine drama than just acting and dancing etc.. There is a whole history behind it which has influenced it into what we now see today. By having this class, we are being shown how far we have come

Krystel Coloma

IP 362

A. Agcaoili

Module 3

Module 3 contains two articles that briefly summarize the history of theater and drama. It speaks of the influences from the Japanese, the Spaniards and the Americans. It introduces all of the types of plays or theater as a result of those colonizers as well as other like countries in Europe. One type of play or theater introduced was the komedya which was later turned into comedia. Then there was the playlets, the sinakulo, the zarzuela – later sarswela, the drama, the vaudewille – later bodabil, the absurd, the brechtian theater and the chidlren’s theater . They also explained how the English and the local language theater came to be as a result of the national languages in the country. It also delves into the political aspects tied with the industry such as the EDSA 1 and 2 and the Martial Law implemented by the former president, Ferdinand Marcos. The two articles also give the titles and examples of those forms of drama while explaining its history. It shows how theater has affected the people in the different parts of the country.

One such class of theater formed as a result of the Spanish and American stay was the seditious plays. These plays surfaced after American President Theodore Roosevelt declared general amnesty and officially ended the war between the Filipino and the American people. These plays were anti-American as well as anti-Spanish. The playwrights for the film disguised the props, the actor’s costumes, their manners and scenes to reflect their anti-American and anti-Spanish thoughts. Because it was a form of nationalism, which advocated Philippine independence, was a form of guerilla warfare and an insult to the Americans, the Sedition Act was passed in November 1901. This act made it illegal for anyone to make seditious plays or they would be arrested. There were many writers, crewmen and actors imprisoned for this. In one occasion, the entire audience was arrested.

It is really interesting to know the history of these forms of plays and theater because it allows us to understand how and why the form is the way it is. It also allows us to understand the history as well as the influences for that certain type of theater. For instance the komedya is an interesting one because not only have we seen how it is actually performed but the history of it as well as the types of characters in the play and how and why they speak in that tone and verse. One type of form that I happen to really like is the bodabil and that is because it is most of the forms in one. It has drama, comedy, action, music, dancing and singing all in one show. I also has burlesque shows.

Module 4

Gariela Silang is the wife of Diego Silang. She was one of the fighters for freedom for the Filipino people. She was separated from her mother and left lonesome by her father because of his death. She was widowed at an early age because her rich husband had passed therefore allowing her to marry again. This allowed her to unite with Diego, a revolutionary leader to liberate the people. The two could not bare children but it did not stop them from having fruitful lives together as they both went on to be advocators and fighters for the oppressed Filipinos. The play in the text only went to cover maybe a little portion of her life as she went on to do better and bigger things after her husband had passed away making her a widow for the second time. She is the first woman to lead the people into a revolt at the time of the Spanish colonization. Unfortunately, a little later after her had husband passed she passed also. She and a few of her men were caught as they were trying to escape.

They story or play in the textbook only showed a portion of her and her husband’s life. It is also not in detail and present in a verse or song form. Thus, not including much of the details that a book or an essay would have. So I had to find another way to learn more about the two. The play in the text does however do a great job at introducing the first part of her life in adulthood as well as bits of pieces during her life with her second husband, Diego.

In my eyes, Gabriela is a strong and courageous women who stood up for her people and her beliefs. She kept her husband alive by fighting on and leading the people after he had passed. She personally led her attacks and did not stand behind a protective and safe wall. She was out in the field where all the action and danger was. Not only was she a role model and great figure in the history of the Filipino people but she was also a devoted wife and daughter.

Although not successful in escaping away from her execution she did succeed in being a great role model to other women who later fought for the same or different cause. She also serves as great role model to men. She proves that women are capable of being the leader as well as a homemaker. She proves that women can fight alongside men and hold her own.

When she was captured and executed she did it with courage and did not show to her capturers no fear. It is said in an article from the Ilocos Sur Government website that when she was hanged she went out calm and shining with courage which “befitted a heroine”. The same article, “Joan of Arc of Ilocandia” said that “She deserves the garland of greatness, for she fought and died for her people’s freedom. She was truly the “first woman general” and the “first female martyr” in the Philippine history” which is something I totally agree with. She paved the way for women in a “man’s world” to have the courage to be able to put their two cents in. She also paved the way for future revolution and change.

Frustrations Powerpoint

Rod Antalan

IP 362

A. Agcaoili

Module 3

Module 3 is composed of two different parts which describe the many different influences upon Philippine drama over the course of time. They serve to chow the points in time where Philippine drama and theater has changed and progressed due to the various occupations in the history of the Philippines. They describe how different forms of drama were introduced and how the old ones were modified by the foreign rulers.

The first part of module 3 describes how the Philippine drama was unwritten yet was still able to be passed on from generation to generation. These dramas consisted of song, chant, and even story which were all conveyed through the use of speech. They were oral dramatic forms that were memorized so that they could be passed along to future generations. It goes on to describe how Spanish influence came about and changed the Philippines as well as the Philippine drama. These brought along many different forms of theater such as the komedya, sarswela, and sinakulo. These forms made it impossible to be completely memorized because there would be so much to remember. This forced the dramas to be written in order for them not be lost and forgotten. After the Spanish had been forced to leave, the Americans took their values and pushed them into the Philippines drama creating such things as bodabils (influenced onto them from the French) and enforcing the use of the English language, which lead to the creation of seditious plays. The Japanese also influenced the Philippine theater and media forms. By making propaganda which aided them in their political needs.

Philippine theater was also influenced b its own people not just by their previous foreign rulers. Ferdinand Marcos brought upon many changes into the Philippine drama and theater. He imposed rules that prevented people from saying the things they wanted about his dictatorship. People were forced to figure out methods of expressing themselves without actually saying exactly what they meant. It was these kinds of dramas that were soon banned and got those involved very deadly consequences.

It was these things which helped to mold the Philippine Drama into how we view it today. They help to display and sometimes even expose the life of the times. They show change and acceptance yet display qualities and values from the days from before foreign colonization and influence. This is important because it shows the resilience of the Philippine people who can accept change and yet still hold on to the ideas and concepts which have been passed down to them from many generations before.

Module 4

Module 4 was the play which depicted the life of Gabriela Silang. This play was about an Ilokano woman who was very important to the Philipppines. She was no ordinary woman because she aided in the struggle for Philippine independence during the time of Spanish colonization.

It begins by Gabriela searching to finally reunite with her mother whom she seems to have lost contact with. They finally find each other once more in the beginning of the play. They are catching up with one another and Gabriela reveals that she is in love with a man named Diego Silang. It turns out that Diego Silang is actually an ilokano rebel leader fighting against the Spanish rule in hopes of getting Philippines’ its independence from foreign rule.

As the play progresses, you are able to see how committed Diego is to fighting against the Spanish. Soon this commitment is passed onto Gabriela who displays a great passion for the cause. In the end, the play is not completed but it ends with Gabriela questioning how far this war will end for the two of them. Diego replies that this is only the beginning and that he does not fear because she is at his side.

Although I was not able to read the rest of the play, I went online and did some researching on Gabriela Silang and found that her husband was assassinated in 1763 by order of the royal authorities. She fled to the mountains where she set up a headquarters for her revolting army. She organized and helped to lead the troops of her Tinggian community to help fight against the foreign rule.

Forsaken House Powerpoint

Presentation: The Merry wives of Manila

James Funtanilla
IP 362, Dr. Agcaoili

IP 362 Final Paper

10. Think of a way to use drama as an educative tool for heritage language learning and teaching--and for community involvement and engagement.

What we already do as an Ilokano Program, during our semestral Drama, Movie and Songfest is already a way in which we can help heritage language learners with the Ilokano language. In doing this we reach out to a very small percentage of the Ilokano/ Filipino community. The people that we do attract during these gatherings include the student and maybe one or two of their parents. But this is not enough; we have little involvement with the community that needs to be addressed. I must say though these past two years, with the help of you Dr. Agcaoili, have been more responsive with the “real community”. We have the help of the Philippine Consulate, American Cancer Society, Domestic Violence, and GUMIL Oahu organizations. But you alone cannot carry this big organization to where we can actually say that we help the Filipino community.

What I observed as an outsider/student/officer of Timpuyog is that we try to engage with the community but they just don’t seem to be amused by our thoughtfulness. What I see is only some of GUMIL supporters at our gatherings and only the guest judges at our drama fest. It seems as if the Filipino community does not want anything to do with our cause, “education”. We as students put on good short plays during our drama fest, but our good work doesn’t go beyond that. Our class even went onto the Olelo Program but I’m sure these Filipinos that we hoped would watch were watching TFC or doing other things that seems more important to them.

My proposal is to keep doing what we are doing but instead of trying to attract the adults of the Filipino community, we try to appeal to the younger generation instead. They are more interested and not shame of sticking out like a sore thumb. If you recall, at the last Literary Conference at the Philippine consulate your students including myself joined in the dancing while the elders looked on, we have no shame and we go for it all. Sorry to say, and not to be judgmental but the majority of Filipinos we invite are only concerned about being the best dressed or want to be recognized as being part of our organization, not all but some. We can do better than that, although I say this and probably lose all credibility for being a Timpuyog supporter, I feel that people just don’t care. We try and try but nothing happens.

One of my suggestions would be to either put on some sort of show or send in our music videos to local stations such as OC 16 or radio stations and have them broadcast our productions. What I found popular was that on OC 16, there were young Filipino producers who would make parodies of recent music, either rap or hip-hop and make hilarious music videos. These music videos were very popular with not only Filipinos but also other ethnicities who thought it was great. On the popular 102.7 Da Bomb FM radio station one of the DJs made a parody song “Talk Like a Pinoy”, which gained popularity not only here but around the Filipino world. In fact it has already made its way to youtube.com. Although these are a majority parodies, it appeals to all ages of Filipinos. Some people might say that in doing this we are disrespecting our culture, but the way I see it as the younger generation we are evolving our musical, artistic, imagination to other levels. We are not shame of sticking out, we embrace the culture, and most importantly being Filipino. Many Filipinos are heritage language learners so by doing this we all find our connection as Filipinos. We should stop targeting the elders for support and instead aim for the younger generations who would be more interested in our cause. Although we need to chase the people with money, the elders, but besides that we have to look beyond the people who are here year after year. We need to expand to a wide range of the population.

There are many ways of attracting younger groups of Filipinos to be interested in learning the culture and the language. We could hold talent shows, ranging from music, dance, movies, acting, and music videos. These would all attract younger heritage language learner’s even non-speakers to be more involved. Once we get them attracted, then we try to educate and hopefully they like what they see and are convinced enough to continue their forms of drama. In L.A., you here of big Filipino festivals where the support from the community is very responsive. The youth play a big part in that success, which makes more sense to emulate what they have done there and bring it down to Hawaii. The younger generation Filipinos are extremely talented in the arts. To adults the arts that I refer to deal with DJ-ing, in fact the first real DJ to hit main stream was a Filipino. The dance, such as break dancing, the top b-boy in the state and around the country are young Filipinos. Musical artist and graffiti/ modern street artist are Filipinos, many of their work are based around our culture. There is so much of the youth to offer, but we need to utilize their talents. The younger generation is the answer.

James Funtanilla
December 11, 2007

Presentation: But Not My Sons any Longer (Severino Montano)
Rachelle M. Aurellano
IP 362: Philippine Drama: Art, History, Culture