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