Module 3: Return to the Roots/Return to Remembrance: Encounters and (Mis)Encounters

Module III: Summary & Reaction
IP 411: Philippine Literature in Translation/English
by Rachelle M. Aurellano

In this module, we are introduced to a variety of short stories written by Ilokano writers. These literature pieces are stories that Ilokano’s can easily relate to because they give this kind of remembrance of home, back in the Philippines. This module is really one to enjoy because the variety in these stories, from humor, to tragedy, to excitement, etc. gives the reader this understanding of the Ilokano people and their culture. The way Ilokano’s were raised, reflects upon who they become and many of these can be seen as encounters that Ilokano immigrants experienced. This sense of going back home or growing up in the barrio gives this warmth feeling because you feel like you’re in the story. The writers of these literature pieces did such a wonderful job that it’s very easy to understand. The three stories that I enjoyed the most, and I’ll give a little summary on each are: Pimples, Rice for the Moon, and Sing Cicada Sing. I chose these three because they’re all very different.

“Pimples,” by Pelagio Alcantara is a short story about coming of age. The main character, a young boy, is at the age when boys begin to notice girls. It opens with this young boy, daydreaming about this beautiful young girl flirting with him until he’s brought back to reality by his friend. They talk about school and the night until the young boy decides to go home. Later that day, he goes to a store to pick up some comics. When he gets there, he observes a young beautiful women being a harassed by drunk old man. When the drunk old man is rejected, he leaves the store and the young boy goes to the young women. He asks as if he’s old enough as he asks for a beer. At this point, he thinks he’s cool and tries to ask the young women on a date. It ends with the young boy drunk and out cold.

“Rice for the Moon,” by Manuel Diaz is also a short story about coming of age but one with a very big dilemma. It’s a story that takes place during the Japanese Occupation. It opens with a ritual of throwing rice to the moon for good luck which turns into a devastation. As rice becomes scarce, due to the Japanese invasion, families of Nagsaag are forced to move higher into the mountains, to the home of rich old man. In all this, a young boy, Odet, observes all the things that are happening and begins to question the family’s moving. He doesn’t understand until the very end, when they reach the rich old man’s house. He learns in the end that his older sister will need to marry that rich old in order to have food on the table.

“Sing, Cicada, Sing,” by Gregorio Laconsay is one of my favorite stories in this module because it ends happily. It opens with a young couple, a doctor and a nurse, who are well off, and are going back home to the province to visit family. This couple is from Manila, and they’ve taken the weekend off to vacation to their hometown. The young man, who’s a doctor, speaks about his memories during his childhood and the things that he misses about being home. His wife, a beautiful women, who’s a nurse, is going back home with her husband for the first time to meet the family. She learns about his childhood memory and how wonderful it was back then. When they finally get there, they realize how busy they’ve been that they haven’t got any children. However, the both of them were content with that until the very end, when they decide that they finally want to have children.

Module 5: Community & Theatre/Community as Theatre

Modular V Summary & Reaction

IP 362-Philippine Drama: History, Art, Culture

Rachelle M. Aurellano & James Funtanilla

In module five, we look at community and theatre, and find that community as theatre can be reflected upon a community of people and the day-to-day situations that occur. As we’ve learned previously, theatre comes in all forms, whether it be a dramatic form, ritualistic form, etc., theatre can also be an element of real life situations. As seen in “Blessed are the Grafters,” a play in two acts, the situations and characters used in this play are imaginary yet, they could actually resemble any actual situations.

Blessed are the Grafters is a play that takes place in the office of Salsipuedes & Co. It opens with the secretary Miss Culasa and the male clerk, Ed. These characters are very interesting, as they argue constantly throughout the play. Ed, as you will notice, is very rude and obnoxious when answering phone calls for Mr Salsipuedes. He is also lazy and enjoys his personal phone calls on the office lines. It seems as if he does no work at all. Anyway, the office of Salsipuedes & Co. is looking for a female secretary and three women come to apply for this position. The first applicant is interviewed by Ed, but upon conducting this interview, he asks inappropriate questions. The next applicant, interviewed by Miss Culasa, seems a little out of place and has no idea about the position she’s applying to. The last applicant is woman with a lot of office experience, but she is a very unattractive woman. She’s very impressive, but the only thing is that she’s seen as “hideous.” Throughout the play, we see a number of characters from the BIR who want to speak with Mr. Salsipuedes about the income taxes he filed. It becomes prevalent that these people from the BIR are actually cheating Mr. Salsipuedes by manipulating the system because of their high positions. Not only do we see characters from the BIR, we have women selling tickets to Mr. Salsipuedes for their fundraiser and also Labor Men asking for money. In just two acts, there is a lot that goes on in the office of Salsipuedes & Co. and a lot of people who go in and out of the office. The grafters of this play become those who personally profits from Mr. Salsipuedes, the BIR, who in the end eventually gets caught for corrupting the system.

Rachelle's Reaction: I enjoyed this module because it was a different approach to understanding Philippine theater. Instead of reading about Philippine theater, module five is an actual play that reflects Philippine society and the people. It was also very different from the previous play, Gabriela Silang, because it was more of a current issue that you could actually relate to versus a historical account dated back to Spanish colonialism. Although the play was imaginary, I found it to be quite relevant to the corruption that the Philippine faces today. The characters of this play were quite interesting because of their dialogues. I had a lot fun reading this play because of the humor that was incorporated and the number of characters who were included in this play. Every one of the character played a very important role in this particular play and none of the characters seemed out of place. I think the only characters I didn’t quite understand were the importance of Gorio, the messenger, and the Janitor. I didn’t get what the point of having them in this play. Perhaps I didn’t grasp the main idea of this play because to understand certain plays, you’ll need a historical background about it. Sometimes, plays are written to reflect society, as I have learned in the previous modules. But aside from that, I really did enjoy this play because it explores Philippine theatre in a realistic view that analyzes the socio-political and economic structures of Philippine society. However, the ending of the play was confusing and I couldn’t understand the reason for why it ended the way it did but I liked the last excerpt by the janitor, “Blessed are the grafters—for they shall—possess—the kingdom—of Muntinglupa.”

James' Reaction: I think that the play was good, it was different from the norm. For one it directly exposes the “government” or the ones who should be upholding integrity in society. What I liked the most was that the play gives insight to others who believe that you really cannot judge a book by it’s cover. Just because it looks and seems good, loyal or righteous doesn't mean that it will be. For myself I got the message to be aware of the different types of unjust people who prey on the innocent. This play portrays the evil of good and the good of evil, just like yin and yang. In all it seems to balance itself in a way that allows for a society to run, in a supposed great country the U.S. citizens still to this day suffer from corruption. It is an inescapable fact of life in any society.

Module 4: Coming to Terms with The Stage: Rites, Rituals, Rhetoric of "Racial" Remembrance

Modular IV Summary & Reaction
IP 362-Philippine Drama: History, Art, & Culture
Rachelle M. Aurellano & James Funtanilla

In this module, we finally come to terms with the stage as it introduces a full-length play that retells the story of Gabriela Silang, an Ilokano who continued her husband's work and led a revolt during the Spanish colonization of the Philippines. The opening scene takes place in Tingian country, near the terraced mountains of Abra in the Ilocos Region. It opens with a strange incantation of fourteen pagan females, led by Taddek, a Tingian female chief, performing a strange rite before the blood-red tree in blossom. This chant, in Ilokano, is called the kaniaw. As Taddek chants these lines, "Patay, biag; patay, biag, minalem, bigat, agkarkararag; Patay, biag; patay, biag, rabiit, aldaw, agsilnag," the other women repeat after her, like a chorus. In this act, we also meet Gabriela, who searches for her mother and finds that Taddek, is her actual birth mother. Then we learn Gabriela's story about her childhood after being taken away from her mother and being raised by Friar Tomas Millan, her adopted father. She learns the truth about why Taddek was gone all those years. We also are introduced to Gabriela's love, Diego Silang. This scene ends as Gabriela and Diego become one. In short, the story continues as the revolution begins. It builds up to a lot of interesting dialogue and eventually leads to the assassination of Gabriela's husband, Diego Silang. After his death, Gabriela carries on the crusade for freedom. But like every good story, it ends with her death.

Rachelle's Reaction: I really enjoyed this module, because here's a play based on a true story of two Ilokano heroes, Diego & Gabriela Silang who led a revolt against the Spaniards. In all my years growing up in a traditional Filipino home, not once, did I ever hear of these names. I've heard of Rizal, but never did I hear about Diego & Gabriel Silang or even the epic story of Biag ni Lam-ang. I think that it's very important that as a young Filipino-American, you learn about these stories. By taking these Ilokano language and literature courses, I've been exposed to many stories that are very influential in the history of the Philippines, more so the history of the Ilokanos. The more I read about these stories, the more I'm able to grasp this sense of who I am, as I come to terms with my Ilokano heritage. But in looking at this module in terms of Philippine Drama, we are finally exposed to a dramatic piece. The earlier modules talked about Philippine theater, the definition, history, and traditions. But now, this particular module introduces an actual play, a performance of rites, rituals, and 'racial' remembrance. The story of Gabriela Silang is an actual historical event during the Spanish colonization and with the different forms and conventions in the context of this dramatic play, it reflects the history of the Philippines.

James' Reaction: I thought it was different and an interesting type of hero story because Gabriela was a woman who was seen as the savior/hero of the people. The fact this story occurred during Spanish colonial rule, and that the main character was a woman made it different compared to other stories of revolution of that time. It goes to show how far woman have gone through in society.

Modular Essay 3

Developing an Understanding of Ilokano Culture in a Changing World
by Michael Schulze-Oechtering Castaneda

In module three there are stories of the Philippines as a home that Filipinos have a need to return to as well as a home that is in constant change. Several question arise that are important to understanding what being Ilokano means in a world that is in constant change. Ilokanos in these stories are forced to ask themselves how to maintain their culture under economic and Eurocentric assimilation forces. However, I argue that these forces do not stop Ilokanos from embracing and celebrating their culture, but Ilokanos find new ways to keep their culture strong and exuberant.
One story in this module, “Rice for the Moon,” follows a family that is forced to evacuate their barrio to the hills because of the Japanese occupation of the Philippines during World War II. During the trip we find out that Manang Ason, the narrator’s sister is being arranged in marriage, which she disapproves of, she is sixteen years old. The story ends with the family taking Manang Ason to her arranged husband. It is important to recognize that the story is told from the view of a nine-year-old child. As this child, Idot, explains the variety of Ilokano traditions presented in the story we can see how he does not understand them from a historical sense, but he tries to make sense of them. When we put this child’s experience in context with the historical and social events taking place, we see that Idot must not only make sense of his culture, but also how war, particular the Japanese occupation, affects his way of life.
Another story is “Selmo Returns Home” by Benjamin M. Pascual. Pascual depicts a story of Selmo, a middle aged Ilokano who returns to his home in San Miguel after many years of living in California. Selmo’s intial plan was to stay in San Miguel, but he reveals at the end of the story that his home “is in America.” Much like “Rice for the Moon,” the story of “Selmo Returns Home” depicts Ilokano cultural traditions. Pascual presents these cultural traditions as a burden to Selmo. However, the question that arises is does this make Selmo less Ilokano?
What these two stories as well as the rest of the stories in this module articulate is a struggle to maintain a sense of what it means to be Ilokano, What all the authors demonstrate is Ilokano as a culture is being threatened by two imposing cultures, capitalism and foreign imperialism. As the characters in these stories struggle to survive in the oppressive cultures of capitalism and imperialism, retaining what it means to be Ilokano is always being threatened. One example of this is in “A Bottle of Rain” by Manuel Diaz. Diaz depicts the story of a man trying to harvest his field, but there is a drought. The man’s wife believes it will still rain and tells him of an Ilokano belief of rainwater in a bottle. If the water bubbles then it will rain. The husband laughs this off as “nonsense.” Through looking at the text closer we can see that the husband loss of faith in the bottle of rain is a result of the stress that comes from economic inequities in the Philippines and his working class position. While resting, images of his family’s struggle flash in his mind, “Cornplants flowering without promise of grain, his carabao struggling through a lean year, a wife denied of the love of a mother and father because of the complications brought by love.” (Diaz,12) The husband follows these images of struggle with a critique of his neighbors looking at faith to solve their problems opposed to addressing institutional changes that need to happen. “A day of trail, a moment of decision, a strong and wise representation to the government for more pumpwells instead of irrigation systems without water. But here they are, singing their way in a procession to ask for rain. Rain!” (Diaz,12) What both passages suggest is a sense of desperation. As a people who are struggling to maintain our culture, we must also recognize our other struggles, particularly for the large amount of our people living in poverty that deal with a puppet government to US imperialism. I argue that these economic and imperialistic challenges that Ilokanos face shapes what it means to be Ilokano just as much as our indigenous traditions. The last line of “A Bottle of Rain” summaries the real problem of the husband in the story. The line “But could the scorched plants still be saved” suggests the question of rain was not the real issue. The real issue is the fact that the social conditions those families similar to those depicted in the story force people into a never-ending struggle. What the Diaz is suggesting is a restructuring of social systems to value the lives of people.

Guest Speaker Dr. Alegra Visaya

Eric Dulay
IP 411
IP 411 is a great class to see good writings that people have done over the years. Whether it is a sad story, love story, happy story it doesn’t matter. The fact is we students get to see a good insight to the writers mind. It is an inspiration that can project us forward in our studies. By having Dr. Alegra Visaya as our guest speaker, we can understand the experiences that she has gone through and we can understand these processes and use it in our future.
Dr. Visaya first talked about her childhood and her experiences through out her years. She was born from a Chinese father and an Ilokano mother. She lived in China the first couple of years in her life and later moved back to the Philippines with her mother. She first got involved in writing with the Youth Grinder, later in college she became more involved and started to read poetry from Edger Allen Poe and pieces like Oh Captain My Captain. She started to get the process of writing poetry because her thought was that she wasn’t doing it right. In the truth she was actually doing fine. She later got involved with Banawag and joined GOMEIL. Her first poetry that she wrote was called Identity. She realized by the age of 55 that she wanted to write in Ilokano. She ended having Stones of Many Past published in Banawag.
I enjoy that fact that she was very humble in her explanations of writing. She always took the time to look at her surroundings as inspirations in her writings. She used the example of looking up into the night sky and finding something that gives her meaning to what she is seeing. I took that as a very good inspiration to always look at something and making it unique in its own way. She also mention about wanting to write about things that people don’t really look at everyday. I also thought that it was cool that she looked at Edger Allen Poe. I know that Poe was a person that looked at the darker side of poetry. This type of poetry is uniquely different because it is a side that many people don’t like touching if your easily depressed. She also mention about Oh Captain My Captain. I remember reading this in my English class in high school. if I remember right it deals with the death of a President. Dr. Visaya is really interesting as a person and as a writer.
Overall, I enjoyed her visit and giving us an overview of a life as a writer. It doesn’t matter where or how a person gets their own inspiration, it is how that person can relate and put it into words.

Module 3: Philippine Aesthetics and Theatrical Traditions: Roots and Practices

Modular III Summary & Reaction

IP 362--Philippine Drama: Art, History, Culture

Rachelle M. Aurellano

In this module, the reader is introduced deeper into the aesthetics and theatrical traditions of the Philippines, the different types of theater, and also the roots and practices that the Filipinos still continue, even today. Philippine theater is definitely part of Philippine history. It has been oppressed and repressed, and has risen and flourished. Even before the coming of the Spaniards, the Filipinos had their own forms of theater, known then as dramones, "lengthy Tagalog dramas." However, the Spaniards never recognized it at first, and when they did, they referred to it as "the literature of the Archipelago, almost all of it false, being child of the exoticism of fantasy." When the Americans came, they banned the drama because it was "seditious." Then during the Japanese Occupation, the manila Shimbunsha strictly censored scripts and performances for anything pro-American/anti-Japanese. Yet, in each of these eras, Philippine theater flourished.

Many of what is seen today has been a confluence of all past theater traditions. All of the theater forms of Philippine history are still accessible, but some forms have vanished. They are still communities who perform these rituals and ceremonies and indigenous dances are still performed in tribal communities. Times have always shaped Philippine theater, but forms come from tradition, local practice, and international influences but change in combination, emphasis and purpose. In Philippine theater, you find political theater, psychological realism, comedy, folklore, folk drama forms, musicals, social realism, provincial theater, as well as other literary forms. There are four experiences of Philippine history that incorporate theater experience local and borrowed, and stories intimate and communal, political and personal, folkloric and contemporary. These are An Balangaw, Silay City sarswelas, encantada, and the Philippine Ramayana.

In a nutshell, Philippine theater had major influences from the Spanish, American, and Japanese. Dramatic forms introduced or influenced by Spain continue to live in rural areas which include the komedya, playlets, sinakulo, sarswela, and drama. Some of these forms have been revitalized to make them more responsive to the conditions and needs of the nation. With the establishment of American colonial rule, bodabil was introduced and Western plays were done in the English language or in Filipino translation. And with the coming of the Japanese, a theater of puppets and shadows were introduced. Despite the long history of colonial rule in the Philippines, the influences of these colonial powers had a great impact in the development of Philippine theater.

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This module provided a lot of information about Philippine theater and its influences from colonial rule. I thought it was interesting how there were many influences from the Spanish and American yet at the same time, the Filipinos retained the aesthetics and traditions of their roots and practices before the coming of the colonizers. Although a lot of these theater forms have vanished, it's a relief to know that there are still communities that perpetuate rituals and ceremonies, and perform indiengous dances in tribal communites--theater forms that were untouched or not influenced by the colonizers. It's also interesting that everything from fiesta ceremonies to burial rituals is seen a form of theater. That was something I have learned in this module. I think what's important to take from this module is that Philippine theater, whether it was traditional or influenced, definitely played a big role in the vestiges of war because it was a way for the Philippine community to communicate and understand one another through political theater, comedy, musicals, etc. and also a way to stand out from everyone else because I think that Philippine theater is very unique in the sense that it retains its ritualistic and ceremonial forms of theater--something that is very traditional and sacred to the Filipinos. With that, this module opens the reader to Philippine aesthetics and theatrical traditions and if you're really interested in learning about Philipipne theater--see Dr. Agcaoili.