21st Century Literature

from the Philippines

and the World
Quarter 1 - Module 1:
Development and the Canonical Authors'
Contributions to the Literatures of the Philippines
21st Century Literatures from the Philippines and the World – Grade 11
Alternative Delivery Mode
Module 1: Development and the Canonical Authors’ Contributions to the Literatures
of the Philippines
First Edition, 2019

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Published by the Department of Education

Secretary: Leonor M. Briones
Undersecretary: Development Team of the Module:
Assistant Secretary:
Authors: Jovelyn Marquez – Pinat
Noemi C. Montecillo – Abellanosa
Reviewers: Lepelyn S. Valdez
DevelopmeJnotsTeeBa.mCroufzt,h
Jer. ModuleMarie Joy S. Arida
AuthIollruss:tratoJr:ovelyn MarquezJ–ayPMiniacthael
A. Calipusan Noemi C. Montecillo – Abellanosa
Management Team:
EditoCrhsa: Dr. Arturo B. Bayocot, CESO III
irperson: Regional Director
RevieCwo-eCrsh :a i rLpeepr seol ynns :S . Valdez Dr. Victor G. De
Gracia Jr., CESOJose
V B. Cruz, Jr. Asst. Regional Director
Marie Joy S. AridaMala Epra B. Magnaong
CES, CLMD
IllustMraetmo Dr. Bienvenido U. Tagolimot, Jr.
rb:ers: Regional ADM Coordinator
Layout Artist: Dr. Angelina B. Buaron
EPS, English
Management Team:

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2
 1
21st Century
Literature from the
Philippines and the

QUARTER 1 - MODULE 1
DEVELOPMEN THE CANONICAL
T AND
CONTRI TIONSAUTHORS’
TO LITERATUR
E
BU OFTHEHILIPPINE S
THE P S

This instructional material was collaboratively developed and reviewed

by educators from public and private schools, colleges, and/or universities.
We encourage teachers and other education stakeholders to email their
feedback, comments, and recommendations to the Department of Education
at action@deped.gov.ph.

We value your feedback and recommendations.

Department of Education • Republic of the
Philippines

Department of Education • Republic of the

Philippines

3
 Table of Contents

Cover Page 1
Copyright Page 2
Module Title 3
Writers’ Profile 4
Table of Contents 5
What I Need to Know 6
What Should I Expect 7
Things to Remember To Get Through 7

CONTENTS

Lesson 1: Literatures from Pre - Colonial to Contemporary

What I Know 9
What Should I Expect 10
What is it 10
What’s In 17
Assessment 18

Lesson 2: The Regional Approach to Reading Philippine Literature

What I know 19
What Should I Expect 20
What’s New 20
Assessment 24
What I can do 24
What I can do more 26

Lesson 3: On National Literature and Its Ethnic Dimensions

What I know 27
What Should I Expect 28
What’s New 29
What Should I Expect 31
What is it 31
What I can do 33
What can I do more 38

References 39

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 MODULE 1
DEVELOPMENT AND THE
CANONICAL AUTHORS’
CONTRIBUTIONS TO THE
LITERATURES OF THE
PHILIPPINES

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.

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 WHAT SHOULD I EXPECT

After studying this module, you will be able to

1. define literature from various writers;

2. identify the geographic, linguistic, and ethnic dimensions of
Philippine literary history from pre-colonial to the contemporary;
3. 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;
4. value the contributions of local writers to the development of
regional literary traditions;
5. compare and contrast fantasy and realism; and
6. 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. The first section tells you what this module is all about while the
second section tells you of what you are expected to learn.
2. Never move on to the next page unless you have done what you are
expected to do in the previous page. Before you start each lesson, read first
the INSTRUCTIONS.
3. Work on the activities. Take note of the skills that each activity is helping you
to develop.
4. Take the Post-Test after you are done with all the lessons and activities in the
module.

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5. Meet with your teacher. Ask him/her about any difficulty or confusion you have
encountered in this module..
6. Finally, prepare and gather all your outputs and submit them to your teacher.
7. Please write all your answers of the tests, activities, exercises, and others on
your separate activity notebook.

GOOD LUCK AS YOU BEGIN THIS MODULE!

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 MODULE 1 – LESSON 1

What I Know

Before you start studying this module, answer the following questions to see
what you already know about the topics that will be discussed in it.

Read the following. Write the letter of the answer on your notebook.

1. Which of the following is an example of oral literature?

a. Riddles c. Poems
b. Epigrams d. Chant

2. Heart of the Islands is a collection of poems by

a. Conrado Peroche c. Manuel Viray
b. Toribia Mano d. Nick Joaquin

3. The Philippines regained its freedom on

a. July 4, 1946 c. July 6, 1946
b. July 5, 1946 d. July 7, 1946

4. Minsa’y Isang Gamu-Gamo was performed by

a. Hilda Koronel c. Sharon Cuneta
b. Lorna Tolentino d. Nora Aunor

5. Narrative poems which talked about world of royals, warriors and lovers
a.Awit c. Both a & b
b.Corrido d. None of the above

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 LESSON 1
1.

LITERATURES FROM PRE - COLONIAL2.

TO CONTEMP3.ORARY

Learning Competencies:

Identify the geographic, linguistic, and ethnic dimensions of Philippine

literary history from pre-colonial to the contemporary (EN12LIT-Ia-21)

What Should I Expect

At the end of this lesson, you will be able to

1. define literature from various writers; and

2. understand literature from pre-colonial to contemporary.

What is it

What is literature?

The word literature is derived from the Latin term litera 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)

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 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.

Literary 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:
1. Written literatures.

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 1. Riddles or bugtong. An effective way to inculcate the ability
of logical thinking of a child.
2. Epigrams or salawikain. It reflects its hidden meaning
through the good lines, it provides good values.
3. Poems or tanaga - usual form of poetry whose form makes
it beautiful.

2. Oral literatures
Examples:
1. Chant or ambahan. These are songs about nature or
childhood, even during joking, drinking, and many other
random chores.
2. Balagtasan – is 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.

2. The Spanish Colonial Period (1565-1897)

Sixteenth Century was the start of the deprivation of the indigenous

Philippine literature. Spanish colonial government finally got in the scene. They were
able to manipulate literature by monopolizing it under the religious orders. Literature
evolves mainly on the themes of Spanish/ European culture and of course, the
Roman Catholic religion.
Literary Influences during Spanish colonization.
1. The first book ever printed in the Philippines is a Christian Doctrine or
Doctrina Christiana in 1593 by the Dominican press.
2. Libro de la Lengua Tagala by Fernando Bagongbanta .Tagalog
translations to the Spanish lines, still the superiority of the Spanish
language.
3. Pasyon influenced by the Spanish contexts of Christianity, at least they
embodied several Filipino sentiments and values (the feeling of Filipino
mother towards a suffering son).
4. Filipino writers in Spanish became conscious for the search for freedom.
5. Pasyon Dapat Ipag-alab ng Puso by Marcelo H. del Pilar expressed his
rebellious writing style was identified.
6. Pascual Poblete’s Patnubay sa Binyagan associated Filipinos’ struggle for
independence with Jesus’ life.
7. Jose Rizal’s Noli Me Tangere and El Filibusterismo made very powerful
contributions among the Filipinos the introduction of rejecting Spanish rule.
He also influenced the succeeding writers.
8. The narrative poems Awit and Corrido talked about world of royals,
warriors and lovers (the basic concept in Florante at Laura).

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 9. Komedya. Francisco Baltazar’s Florante at Laura embodied the concept of
colonization and oppression which gave voice to their revolutionary action
towards freedom.

3. The American Colonial Period (1898-1945)

 Philippine literature in Spanish was starting to lose its track on the first
decade.
 The poems of Fernando Ma. Guerrero (Crisalidas), Balmori’s Se deshojo la
Flor novel ,and many others discussed revolution and sentiments for
patriotism and reform prove that Philippine literature was used to claim
freedom from the colonizers.
 Even if Philippine literature was in English, the preservation of the content for
Filipino experiences was achieved.
 Short story writers in English like Manuel Arguilla in his “A Son is Born,” was
one of the foundations of the Philippine literature, not in Tagalog or in
Spanish, but during this time, in English. Poetry in English was also founded.
 Sarsuwela was overpowered by English drama.

4. The Contemporary Period

Contemporary period started during the rebirth of freedom in (1946-1970).

The Americans returned in 1945. Filipinos rejoiced and guerrillas that fled to
the mountain joined the liberating American Army. On July 4, 1946, the
Philippines regained its freedom and the Filipino flag waved joyously alone.
The chains were broken.

The State of Literature during this period.

The early post-liberation period was marked by a kind of “struggle of mind and
spirit” posed by the sudden emancipation from the enemy, and the wild desire
to see print.

1. Heart Of The Islands (1947) –a collection of poems by Manuel Viray

2. Philippines Cross Section (1950) –a collection of prose and poetry by
Maximo Ramos and Florentino Valeros
3. Prose and Poems (1952) –by Nick
4. Joaquin Philippine Writing (1953) –by T.D.
5. Agcaoili Philippine Havest –by Amador
6. Daguio
Horizons Least (1967) –a collection of works by the professors of UE,
mostly in English (short stories, essays, research papers, poem and
drama) by Artemio Patacsil and Silverio Baltazar The themes of most
poems dealt with the usual love of nature, and of social and political
7. problems. Toribia Maño’s poems showed deep emotional intensity.

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 8. Speak Not, Speak Also –by Conrado V. Pedroche
9. Other poets were Toribia Maño and Edith L. Tiempo, Jose Garcia Villa’s
Have Come, Am Here won acclaim both here and abroad

The New Filipino Literature during this Period

Philippines literature in Tagalog was revived during this period. Most
themes in the writings dealt with Japanese brutalities, of the poverty of life
under the Japanese government and the brave guerilla exploits.

5. Period of Activism (1970-1972)

Many young people became activists to ask for changes in the
government. In the expression of this desire for change, keen were the
writings of some youth who were fired with nationalism in order to emphasize
the importance of their petitions.

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.

PALANCA AWARDEES FOR LITERATURE IN ENGLISH

Palanca Memorial Awards was established in 1950. The Palanca

Memorial Awards for Literature had been giving cash prizes for short story,
poetry and one-act play writing as an incentive to Filipino writers. The prizes
come from La Tondena, Inc., the firm founded by the late Carlos Palanca Sr.

6. 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.

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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.

21st Century Literature

All literary works written and published at the later part of the 21st
century (from 2001 onwards). These works are often characterized as gender
sensitive, technologically alluding, culturally pluralistic, operates on the
extreme reality or extreme fiction, and questions conventions and supposedly
absolute norms.

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 Isang 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 Jr., Jay Ilagan and Christopher de Leon

Comics, Magazines and other Publications

During 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.

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 Overview of the Literature during the New Society Period

Bilingual education which was initiated by the Board of National

Education as early as 1958 and continued up to the period of Martial Rule in
September 21, 1972, resulted in the deterioration of English in the different
levels of education. The focus of education and culture was on problems of
national identity, on re-orientation, renewed vigor and a firm resolves to carry
out plans and programs.

8. 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.

Philippine Films during Third Republic

Film Director Cast Genre

Kontrobersyal Lino Brocka Philip Salvador, Gina Alajar, Drama

(1981) Charo Santos
Relasyon Ishmael Bernal Vilma Santos, Christopher Drama
(1982) de Leon
Dugong Buhay Carlo J. Caparas Ramon Revilla, Bong Action
(1983) Revilla, Imelda Ilanan
Ang Panday Ronwaldo Reyes Fernando Poe, Jr, Marianne Action/Fantas
(1984) dela Riva, Max Alvarado y

Tinik sa Dibdib Leroy Salvador Nora Aunor, Dina Bonnevie, Drama

(1985) Phillip Salvador

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 9. Rebirth of Periods (1986-1999)

History took another twist. Once more, the Filipino people regained
their independence which they lost twenty years ago. • In the span of four
days form 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.

On 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.

On 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?

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 Assessment

Instruction: Match each statement in Column A with what it describes in

Column B. Write the letter of the answer on your notebook.

Column A Colum B
1. It is the first alphabet which was
replaced by Roman Alphabet. a. Letter
2. It defines that literature is anything b. Alibata
that is printed as long related to ideas c. Doctrina Christiana
etc. d. Webster
3. It is the first book written by Fr. e. Balagtasan
Juan de Placencia. f. Riddles
4. A Filipino form of debate done in g. New Society
verse. h. word of mouth
5. It is a word derived from a Latin term i. Awit and Corrido
litera j. Palanca Memorial Award
6. Tagalog Zarzuela, Cenaculo and the k. Pasyon
Embayoka of the Muslims were l. Spanish Colonial Period
presented in what period? m. literature
7. Narrative poems talked about world of
royals, warriors and lovers.
8. A literature influenced by the Spanish
contexts of Christianity, at least they
embodied several Filipino sentiments
and values.
9. Literatures were handed down to us
through the ---.
10. An awarding organization continued
to recognize the efforts of the Filipino
writers.

Now, Let’s Proceed to Lesson 2

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 MODULE 1 – LESSON 2

What I know

Instruction: Write T if the statement is true and F if it is false. Write your

answer on your notebook.

1. Due to diverse environment, our ancestors developed separate cultures and

beliefs.
2. Good number of performances can be found in video-sharing site like YouTube.
3. Rich biodiversity of the Philippines has made through archipelagic nature.
4. Our study of literature can help us understanding different cultures across the
country.
5. Ilocos Region belongs to Region 2.
6. CAR Region stands for Cordillera Administrative Region.
7. Jose Ayala is a writer comes from Region 10.
8. CARAGA Region is the same with CAR Region.
9. Our topography allows us to enjoy endemic flora and fauna.
10. Western Visayas region is part of NCR region.

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 LESSON 2

THE REGIONAL APPROACH TO READING

PHILIPPINE LITERATURE

Learning Competencies:

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).

What Should I Expect

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’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

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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.

21st 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 21st 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.

The table below presents the current regional division of the Philippines.
Samples of 21st century Filipino authors associated with each region are listed. The
writer’s association with that region is established in two ways: it is the writer’s
birthplace or the writer settled in that region. Be reminded that the names of writers
here are merely a fraction of 21st century Filipino writers. Many of our new writers are
still waiting to have their works be published.

NCR-National Capital Region-Metro Manila is made up of the following cities:

Manila, Caloocan, Las Pinas, Makati, Malabon, Mandaluyong, Marikina,
Muntinlupa, navotas, Quezon City, Pasay, Pasig, Paranaque, San Juan, taguig,
Valenzuela, and Pateros
 Writers associated with this region: Michael M. Coroza, Jessica Zafra,
Charlson Ong, Norman Wilwayco, Ana Maria Villanueva-Lykes, Janet B.
Villa, Naya Valdellon, Rosmon Tuazon, Lourd de Veyra

Region 1- Ilocos Region-Ilocos Norte, Ilocos Sur, La Union, Pangasinan and

Dagupan City
 Writers associated with this region: Paul B. Zafaralla, Santiago B. Villafania,
Cles B. Rambaud, Jan Marc Austria, Ariel S. Tabag

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Region 2-Cagayan Valley Region- Batanes, Cagayan, Isabela, Nueva Viscaya, and
Quirino
 Writer associated with this region: Jun Lisondra
CAR (Cordillera Administrative Region)- Abra, Apayao, Benguet, Ifugao, Kalinga-
Apayao, and Mountain Province
 Writers associated with this region: Ma. Luisa Aguillar-Carino, Dion Michael
Fernandez, Rachel Pitlogay, Chinee Sanchez Palatino, Charisse Acquisio

Region 3-Central Luzon Region Aurora, Bataan, Bulacan, Nueva Ecija, Pampanga,
Tarlac, and Zambales
 Writers associated with this region; Virgilio Almario, Rolando F. Santos, D.M.
Reyes, Danton Remote, Marl Anthony Cayanan

Region 4-A-CALABARZON- Cavite, Laguna, Batangas, Rizal, and Quezon

 Writers associated with this region: Joel M. Toledo, Frank G. Rivera,
Jimmuel C. Naval

Region 4-B- MIMAROPA ( Occidental Mindoro and Oriental Mindoro), Marinduque,

Romblon, and Palawan
 Writers associated with this region: Jose Dalisay Jr.

Region 5-Bicol Region-Camarines Norte, Camarines Sur, Albay, Catanduanes,

Masbate, and Sorsogon
 Writers associated with this region: Merlinda Bobis, Ricardo Lee, Victor
Dennis Tino Nierva

Region 6- Western Visayas Region- Aklan Antique, Capiz, Guimaras, and Iloilo
 Writers associated with this region: Felino GarciaJr., John Iramil, Isidro Cruz

NIR-Negros Island Region-Negros Occidental and Negros Oriental

 Writers associated with this region: Isabel D. Sibullen, Marianne Villanueva

Region 7- Central Visayas Region- Bohol, Cebu, Siquijor

 Writers associated with this region: Michael Obenieta, Jeneen R. Garcia

Region 8- Eastern Visayas region- Samar, Leyte, and Biliran

 Writers: Voltaire Oyzon, Timothy R. Montes

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Region 9- Zamboanga Peninsula- Zamboanga del Norte, Zamboanga del Sur,
Zamboanga Sibugay, Zamboanga City, and Isabela
 Writers: Mig Alvarez Enriquez, Servando D. Halili Jr. Antonio R. Enriquez

Region 10- Northern Mindanao Region- Bukidnon, Camiguin, Lanao del Norte,
Misamis Oriental, Misamis Occidental
 Writers: Ralph Semino galan, Judith R. Dharmdas
Region 11- Davao Region or Southern Mindanao Region-Compostela Valley, Daval
del Norte, Davao del Sur, Davao Oriental, and Davao Occidental
 Writers: Candy Gourlay, Salud M. Carrido

Region 12- SOCCSKSARGEN or Central Mindanao Region- South Cotabato,

Cotabato, Sultan Kudarat, Sarangani, and General Santos
 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
 Writers: Joey Ayala, Tita Lacambra-Ayala

ARMM ( Autonomous Region in Muslim Mindanao)- Asila (except Isabela City),

Lanao del Sur, Maguindanao, Sulu, and Tawi-Tawi
 Writers: Steven prince Patrick C. Fernandez, Mehol K. Sadain

Source: Beyond Borders (Reading Literature in the 21st century) by MARIA GABRIELA P
MARTIN et.al.

23
 Assessment

Instructions: What word in the box that corresponds to each of the

following statements below. Write the letter of your choice on your notebook.

a. Lourd de Veyra d. blogs

b. Ralph Semino Galan e. Sen. Alan Peter Cayetano
c. Internet f. magazines

1. Through its existence, many contemporary authors are publishing their work
online.
2. He is a writer associated in National Capital Region.
3. An example of 21st Century Literature of the Philippines.
4. He remarked that government should stop giving the bulk of its national budget to
Metro Manila alone.
5. A writer who comes from Northern Mindanao.

What I can do

You are the editor of a literary section of a newspaper. You need to write a
500-word feature article on a Filipino contemporary (21st century) author from outside
your region. Do a library or an online search on a noteworthy writer. Do not limit
yourself to those cited in the table of authors above, but be on the lookout for a
lesser-known author you believe to be promising. Make sure that your feature
provides the following information: background of the author, a short overview of the
authors literary works (books, online or print publications, etc.), a short sampling of
the authors work/s together with your commentary. End the article by highlighting
what are the authors’ contributions to contemporary Philippine literatures.

(Note: have this activity on your notebook)

24
 Rubric for writing composition

Performance Very Good Good Needs

Areas 10-8 7-5 Improveme
Content Article has specific Central idea is Unable tont 4-1
find
central idea that is vague; non- specific supporting
clearly stated in the supportive to the details
opening paragraph, topic; lacks focus
appropriate, concrete
details.

Organization Article is logically Writing somewhat Central point and flow

organized and well- digresses from the of article is lost; lacks
structured central idea organization and
continuity

Research Cited research Some research of the Did little or no

information, introduced topic was done but gathering of
personal ideas to was inconclusive to information on the
enhance article support topic; cited topic, did not cite
cohesiveness information was information
vague
Style Writing is smooth, Sentences are Lacks creativity and
coherent and varied and focus. Unrelated word
consistent inconsistent with choice to central idea
central idea
Mechanics Written work has no Written work is Written article has
errors in word relatively free of several errors in word
selection and use errors in word selection and use.
sentence structure, selection and use,
spelling, punctuation, sentence structure,
and capitalization spelling, punctuation
and
capitalization(some
have errors)

25
 What I can do more

Other suggested activities for you to explore:

1. Go online and read Butch Dalisay’s essay “Building the National’’

(2010) <http://www.gmanetwork.com/news/story/184020/ opinion/
building-the-national<.
2. Write a short paragraph summarizing Dalisay’s argument.
3. Form a small group and discuss the following: Is Dalisay’s essay
convincing? Why or why not? How does Dalisay use evidence?
Now, let’s move on to lesson 3

26
 MODULE 1 – LESSON 3

What I know

Instruction: Identify the word that corresponds to the statement below.

Choose the word as your answer from the choices in the box. Write your
answers on your notebook.

Choices: Green Girl Realism Fantasy

Pasyon Noli Me Tangere Ninay
Komedya American Literature
Sinakulo Spanish Colonization

1. It is a subgenre in the short fiction.

2. Most conducive structure for representing social realities
3. Fantasy work of Cyan-Abad Jugo.
4. A stage play on the passion and death of Jesus Christ
5. It’s a Christian narrative poem.
6. A book of Jose Rizal that implies reaction to our experience of colonial
oppression.
7. The novel written by Petro Paterno.
8. It is a product of writer’s creativity.
9. A genre of drama.
10. It brought about the emergence of new genres as a response to colonial
presences.

27
 LESSON 3

ON NATIONAL LITERATURE AND

ITS ETHNIC DIMENSIONS

Learning Competencies:

Value the contributions of local writers to the development of regional

literary traditions, EN12Lit-Ic-23.

What Should I Expect

At the end of the lesson, you will be able to

1. appreciate the experiences and contributions of the old folks to our lives;
2. internalize the values of the characters derived from the story; and
3. realize that the names of the places originated from the experiences of the
people.

28
 What’s New

Local Color Analysis

Below is the tale of “How Cagayan Got Its Name”. Read the text carefully
and answer the following questions. Write your answers on your notebook.

Once there was a Bukidnon chieftain on the eastern side of Cagayan River
whose name according to old folks was Mansicampo. He had a quarrel with a
Muslim Datu across the river (now the RER Subdivision) and his name was
Bagongsalibo.

The quarrel became so intense that the Bukidnon chieftain wanted to settle it
through war. However, the Muslim Datu across the river wanted to live in peace with
his people.

Mansicampo then called on all his followers and relatives from the Bukidnon
tribes of Daan Lunsod, gathered on the eastern side of the river ready for combat
then he ordered his son named Bagani, to go and see Datu Bagongsalibo and
arranged for a council of war.

Therefore, the young prince went to see the Muslim Datu and confirmed with
him. During the conference, however the young prince noticed that there was a
beautiful young woman who kept on peeping from behind a door looking at him.

She was so beautiful that the young prince was immediately captivated and
forgot his main purpose in the council. The young prince immediately proposed his
intentions to the Muslim Datu who was only too willing to accept his land in marriage
as he was not very keen about going to war against a neighbor.

When the Bukidnon chieftain heard about his son proposing marriage to
the daughter of his enemy, his warriors bid goodbye and left to live near the hills of
Lumbia, vowing never to return to his former settlement which he then called
“Kagayha-an” (or in Bukidnon, a place of shame).

Since then, Cagayan de Oro has grown into one of the most peaceful and
progressive cities in the entire Mindanao.

29
 1. Map out the events of the story through a Plot Diagram. (15pts)

Exposition:

Rising Action:

Climax:

Falling Action:

Resolution/Denouement/Ending:

2. In what particular place was the story set? Do the characters and setting
remain true to the attributes of people and topography of the actual
place mentioned in the tale? Provide one particular detail that will serve
as a proof. (5pts)

3. Who among the characters wanted change in the society? What change
did the particular character desire? (5pts)

4. Is Cagayan de Oro worthy to be known as the place of shame

considering the present social condition of the place? Why or Why not?
(5pts)

30
Learning Competencies:

Appreciate the contributions of the canonical Filipino writers to the

development of national literature (EN12Lit-Ic-24).

What Should I Expect

At the end of this lesson, you will be able to

1. identify literary works of Filipino writer; and

2. compare and contrast realism and fantasy.

What is it

It is a given, especially in a significant number of accounts of our literary

history, that what we designate as the body of work called “Philippine literature”
evolved in relation to our historical experience. It is now commonplace, for instance,
to explain the emergence of Jose Rizal’s Noli Me Tangere as a reaction to our
experience of colonial oppression during the Spanish occupation. This notion of
literature’s embeddedness in history as a set of events undermines the claim that
literature is the product of the writer’s creativity, and that authorial intention is the
most reliable guide for the interpretation of the literary work. Moreover, a
consideration of literature’s abiding relationship to history can enlarge our
understanding of how the literary, in its “symbolic representation of human
experience ,” can also effect changes in how we live out or experience and interpret
our realities.

The Spanish colonial and American colonial periods brought about the
emergence of several new genres as a consequence not only of our appropriation of

31
foreign literary forms but more importantly of our response to both colonial
presences. Among the borrowed forms is the pasyon, a Christian narrative poem;
the sinakulo, a stage play on the passion and death of Christ; and the komedya, a
genre of drama which, like the awit and the corrido, derived its theme and structure
from medieval Spanish ballads that extolled allegiance to both the Catholic faith and
the monarchy. Literature, in the last half-century of the Spanish colonial period,
became a fertile ground for the expression of a growing nationalist consciousness.
The novel, first attempted by Pedro Paterno in Ninay, and the essay, as popularized
by Marcelo H. del Pilar, eventually became the two dominant forms. And although
Rizal’s Noli Me Tangere and El Filibusturismo were not the only literary works that
envisioned the idea of a Philippine nation, these two novels would remain a starting
point for any subsequent consideration of Philippine nationalism.

Source: Beyond Borders (Reading Literature in the 21 century) by MARIA GABRIELA P MARTIN
st

et.al

What are Fantasy and Realism?

Fantasy. It is a subgenre in the short fiction. It can be compared to the fairy

tale in that it contains the same elements of magic and the supernatural, which impel
the main action. (Beyond Borders (Reading Literature in the 21st century) by
MARIA GABRIELA P MARTIN et.al)

It is something existing solely in the imagination (but often mistaken for reality)
(English DictionaryApp)

Example of literary work: “Snow White”

Realism is the most conducive structure for representing social realities

It is the attribute of accepting the facts of life and favoring practicality and
literal truth (Speaking Dictionary Apps)

Example of literary work: “Noli Me Tangere”

32
Now, let’s try this!

What I can do

Read “Green Girl” (2008), a work of fantasy by Cyan Abad-Jugo. Answer the
guide questions that follow.

Green Girl
By Cyan Abad-Jugo

They say the apartment next door has always been haunted. That it was first
owned by a secretive and solitary woman who lad woven one too many spells or
cooked up one too many schemes, and that the darkness which grew in one of its
corners had eaten her alive. That since then, soon after moving in, its owners would
be awakened by murmurings in the kitchen or bubbling laughter in the sala. That
when the last occupants had borne a child, its opaque front windows had cast a
greenish hue upon her, and as she grew, her skin went from a melon-tinged green to
a rich, uneven avocado color. The distraught parents had tried everything to remedy
the situation, from exorcism to a house blessing to breaking the thick, dull glass of
the front windows, but nothing worked. And then they moved away.

At an early age, I had been warned many times and without explanation
against playing too close to the wall that our garden shared with the apartment next
door. Just as many times, I had nightmares of shadowy trees leaning over the wall to
scoop me up in their leafy arms and smother me. Then one day, my aunt who had
come from the province to study at the college nearby, told me the story of the green
girl.

She told me about the haunted apartment next to me, about other haunted
houses elsewhere, and about other elsewhere containing creatures that either ate or
befriended humans. Often the unusual friend ships brought demands or sacrifices
beyond that I thought I could endure.

“Stop scaring the boy, Hilda. “My mother would chide her.

But when no one was looking, I learned on our living room wall and listened to
the silence next door. Sometime, I could almost hear something a muffled scrape as
if a chair were being moved, a sudden hiss as if fish were being fried, a girlish laugh

33
right at my ear, as if I had been secret sharing. I began to talk to that sound of
laughing. “Hello,” or “What are you doing?”

Outside, by the garden wall, there were sounds other than the wind in the
fraying leaves of mango, banana, and coconut trees, or the piercing screak of
crickets at night. I would hear something moving in the grass, from shrubbery to
shrubbery, breaking the stalks of plants, crunching the gravel, and then withdrawing,
scampering away. “Come back,” I would call, just above a whisper. “I am a friend. My
name is Milton.

And then one day, my new friend stopped to listen, and I, finding a captive
audience, could not stop talking. “I don’t have to go to school now, the teachers need
a break from us kids. My aunt has gone back to the province. I thought I would go
with her, but my mother changed her mind. She keeps saying my father is abroad,
but abroad is not on any map I have looked in. He has not come back. My mother
always pinches me”.

And then suddenly, there stood my mother, pinching me, “What is the matter
with you, Milton? Why are you talking to the wall? Did I not say there might be
snakes next door that might bite you if you stand too close to the wall?”

“My mother is a witch, “I whispered behind the sofa, where my mother had told me to
sit down, while she prepared lunch. My new friend giggled.

After lunch, lay down for siesta. The heat seeped into every corner of our
room, through the mesh of our windows, through the electric fan that churned the air
hopelessly, into the weave of the mat where I pretended to nap. I watched my
mother’s prone body, the rise and fall of the hand on her chest, and when she began
to snore softly, I crept out of the house.

Everything outside was so bright I had to blink several times. The dry, packed
soil of our garden oozed a hot vapor, and the air above the brown, sparse grass
growing near the wall wobbled in a haze. It reminded me of jelly, though it seemed
barely visible, and when I tried to touch it, my hand went right through and touched
the wall. The wall itself shimmered; it swallowed my hand, my arm, my head, and I
found myself tumbling into the garden next door.

I tried to tumble backwards the way I had come, but the wall had turned solid
again behind me. Something scaly brushed against my arm and nipped my ear,
saying in a scraping voice, “You are smaller than I thought, Milton” Its fiery whisper
burned my ear and the side of my face. I whirled around to face the wall and saw
nothing, no snake, no bird, no monster, nothing but the moss drying and scorched
upon it.

“I’m not small!” I cried.

A shadow darkened upon the wall and laughed. “Too small to be a tasty morsel.”

34
 I recognized the laugh at once—the low chuckle, the girlish giggle. I had hear
them come from the same creature I had tried to befriend all summer. I did not want
to look at its shadow, the horns on its head, the ridges down its spine, the curve of its
maw near my ear. My ear--- and everything attached to it---was as good as lost.

I looked away, at the apartment that shared a wall with ours, at the huge
broken windows in front and the weathered door below it. Its paint had peeled, its
wood was scratched and splintered, its doorknob was askew. I wondered if I I could
run and hide inside. And then I did. My heels pushed, my knees unbent, and I sprang
like a cat towards the door. My feet did the running, while I listened for sounds of
pursuit behind me, the rustling of grass, the leap from crackling bush to crackling
bush, the breaking of dry twigs, the skittering of tiny stones, the thump of a huge,
ungainly tail. I stopped with my hand in mid-air, sure the creature was right behind
me, breathing down my neck. Its tail had opened the door.

I had no choice but to step inside. It had planned this all along, to get me
inside, spread me on the kitchen table, slice me up and devour me within hearing of
my mother on the other side of the living room wall. And did she not wake and notice
me gone? If I screamed, would she be able to save me?

Then I realized there was no sound behind me, no rustling, no wind, just a
vacuum of summer stillness. When I peeked over my shoulder, there was nothing,
just the wild, tangled-up garden. It was as forsaken as the rooms before me. And the
house beckoned; search me, search my emptiness, fill me.

Despite my fright the temptation was too great. Was I not on the other side of
the wall at last? There was little to look at, in every room, just more dirt-crusted
floors, broken chairs, dun-stained walls, cobwebs as snarled as the shrubbery
outside. Still, I wanted to see, and up the stairs I went, to inspect more of the same
rooms, with their thick carpets o dust and waterlogged ceilings.

At the very end of the upstairs hallway was the smallest room, and there I
found a little bed, a tiny desk, a wooden eat by a window too high for a child sitting to
look out. The old and filthy mattress on the bed had been chewed on by rats. The
desk, though battered and covered in dust, still looked useable. When I lifted its
sloping flap, I found a dead mouse and photographs too faded and watermarked to
view. I stood up on the seat and looked out the window. And I saw my mother
aflutter, looking for me in her garden, where the sparse grass was trimmed and
sometimes watered despite the ration laws.

It was easy enough to climb the rusty, padlocked gate and bang on ours so
that my mother could let me in. It was not easy explaining what I was doing out in the
street, or why my knees were scabbed and my hands and face grimy. In fact I
couldn’t, and for my silence she marched me to the bathroom and then to bed. To
make up for the siesta I had not taken, she said. But she also punished me by not
giving me any supper.

35
 I was hungry by midnight, so I crept down the stairs to our kitchen in search of
a bite to eat. The creature was waiting for me there. I could see the huge triangular
shape it cast upon the kitchen table as I opened the refrigerator door.

“How did you get in?” I asked, still too sleepy to be surprised, as if I had
walked into a dream.

The same way you got into my garden, “it said, and one shadowy talon
pointed towards the wall we shared with the apartments next door.

“Why did you not do so before?”

“Because you would run from me, like you did, this afternoon.”

“You wanted to eat me,” I said, pulling out a plate of cold fried chicken and
putting this on the table. I wondered whether I was offering the chicken in my stead,
or if I really did intent to eat it.

“I might have been made whole then. Maybe. Perhaps. But you are so small, how
would you contain me?”

This did not make any sense. I took out a fork and knife from the kitchen
drawer, making sure nothing, clattered that would waken my mother. I turned to the
kitchen, thinking I would feel better after I ate. And perhaps this dream would go
away.

“Let me continue your Aunt Hilda’s story,” it said.

“Which one?” I asked, for she had told me many.

“The one about the green girl. She lived until she was nine years old. They
succeeded, you know, in washing away the green from her.”

I forgot about the chicken. “They did? How?”

“An old woman helped them. She had brought many candles, a bag of ash, a
washcloth she wiped the girl with, and a basin of clay where the water slowly turned
green as it drained away from the girl.

“And that basin of green, they emptied into the garden. The garden grew the
most splendid plants, fat, juicy tomatoes and eggplants; rare one-of-a-kind ferns;
beautiful sunflowers, chrysanthemums, roses, and orchids. But as the garden grew,
the girl weakened. She grew paler, more transparent, and when they could barely
see her outline, she breathed her last and disappeared altogether.

“Her parents moved away, but they burned the garden first, using most of their
furniture. Why did they want to change her---what was so wrong with her lovely
green skin?”

36
 I could not answer that; I did not think green such a lovely color. I tried to peel
away the brown skin of the chicken; it was my favorite part, though it was cold,
wafer-thin, and flaccid. I could not eat it.

It was still sitting there. “I am the green that had been washed out of her, and I
am no longer green. I have grown wild and unwieldy, hungry and unloved. Will you
love me, Milton?” It was asking for friendship. It was promising adventure. Like all the
stories my Aunt Hilda told. It was tempting. Then I remembered what sacrifices the
hero would have to make to remain friends with such strangeness.

Summer vacation was almost over. I did not love school, but I cared about
what my classmates thought of me, “No!” I said.

The creature, its shadow, dissolved before my very eyes.

By school time, I believed it was a dream, a dream I had dreamed because I was so
hungry, and could not eat cold chicken.

Outside my room’s window, just across it, an old, murky window leers at me,
and below, a jungle has grown, trees linking branches to mask the underbrush,
keeping me out, when I sleep. I stumble into this jungle, where I glimpse something
completely green, except where it is dappled golden by the sunlight. It moves,
always ahead of me, promising adventure, but I am never able to touch it.
Source: Beyond Borders (Reading Literature in the 21st century) by MARIA GABRIELA P
MARTIN et.al

Instructions: Please answer and discuss each question. Write your

answers on your notebook

1. In what way is the story a work of fantasy?

2. Describe the character of Milton and his attitude towards the story about the
house next door, which his Aunt Hilda narrates.

3. In a way, “Green Girl” is a story within a story: Milton is listener to his Aunt
Hilda’s stories. When Milton rejects the creature’s request, it vanishes and
becomes the substance of his dreams. Who or What is this creature? To
whom or what can we attribute its existence?

37
 What can I do more

Make a creative presentation showing fantasy scene from the Green Girl Story.
Let your presentation be recorded in a video as your soft copy output. (Ex. Role
Play, Drama, Broadcasting, Jazz chant, Game show, Compose-sing a song,
monologue, etc.)

Rubric for creative presentation

Performance Very Good Good Needs

Areas (10-8) (7-5 Improvement
(4-1)
Working well in a Always willing and Usually willing and Rarely wiling and
team focused during focused during focused during
Collaboration assigned tasks and assigned tasks and assigned tasked
presentation presentation and presentation
Speaking with Convincing Competent Limited
conviction communication of communication of communication of
Presentation of character’s role, character’s role, character’s role,
Perspective feelings, and feelings, and feelings, and
motives motives motives
Use of non-verbal An impressive A good variety (3 Limited variety of
cues variety of non- or more) non – non- verbal cues
Gestures, eye verbal cues were verbal cues were were used in a
contact and prop used in an used in a developing way
exemplary way competent way

38
 References

A. BOOKS

Fernandez, Doreen G. Panitikan: An essay on Philippine Literature. Metro Manila,

Philippines: Cultural Center of the Philippines,1989.

Kahayon, Alicia. H. and Zulueta, Cynthia .A. Philippine Literature: Through the
Years. Pasig City, Philippines: National Bookstore, 2000.

Martin, Ma. Gabriela, Guevarra Alona, and Del Campo, Emar Ivery. Beyond
borders: reading literatures in the 21st century. Manila, Philippines: Phoenix
Publishing House. 2016.

B. ENCYCLOPEDIA

Encyclopedia Britannica.2016. http://www.britanicca.com/place/Philippines

C. INTERNET SOURCES

Lifted from:

Retrieved from Butch Dalisay’s essay “Building the National’’ (2010)

<http://www.gmanetwork.com/news/story/184020/ opinion/ building-the-national<.

AsianInfo.org. 2010. http://www.asianinfo.org/asianinfo/philippines/pro-

geography.htm
https://bit.ly/36XYrdp
https://bit.ly/30oJKgV
https://bit.ly/379434F
https://bit.ly/2RpXio8
https://bit.ly/2QZISfz
https://bit.ly/3ajAejR
https://bit.ly/3aoyLZw
https://bit.ly/2Rs4mkq
http://phillit.weebly.com/
https://bit.ly/3a9061H
https://bit.ly/3ahwNK6
https://bit.ly/36XYrdp

39
KEY TO CORRECTIONS

MODULE 1 – LESSON 1

What I know? What’s in? Assessment

1. D 1. Literature is considered 1. B 6. G
2. C as the story of the man 2. D 7. I
3. A because it deals with 3. C 8. K
4. D ideas, thoughts, and 4. E 9. H
5. C emotions of a man that 5. A 10. J
come from his life
experience.
2. Scoring on this item
depends on the judgment
of the teacher.
MODULE 1 – LESSON 2

What I know? Assessment What can I do?

1. T 6. T 1. C Note: Checking of this
2. T 7. F 2. A activity depends on the
3. T 8. F 3. D judgment of the teacher
4. T 9. T 4. E using the suggested
5. F 1O. F 5. B attached rubric (Rubric for
writing composition).
MODULE 1 – LESSON 3

What I know? What can I do? What can I do more?

1. Fantasy Note: Checking of this Note: Checking of this
2. Realism activity depends on the activity depends on the
3. Green Girl judgment of the teacher judgment of the teacher
4. Sinakulo using the suggested
5. Pasyon attached rubric (Rubric for
6. Noli Me Tangere creative presentation).
7. Ninay
8. Literature
9. Komedya
10. Spanish and
American
Colonization.

40
 For inquiries or feedback, please write or call:

Department of Education - Bureau of learning Resources

Zone 1, DepEd Building Masterson Avenue, Upper Balulang,
Cagayan de Oro City, 9000
Telefax: (088) 880 7072
E-mail address: region10@deped.gov.ph

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