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    Bicol Literature

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    John Paul Luna
    1) Bikol is the language of around 5 million people in the Bikol Region of the Philippines. The Bikol people have a long tradition of writing, including folk poems and narratives with mythical content. 2) During colonization, native writing was suppressed but after a few centuries, writers began adapting Biblical stories and dramas to the Spanish writing system for festivals. The first Bikol newspaper was published in 1890. 3) Various genres became popular over time, including corridos (metrical romances), comedias (moro-moro plays), zarzuelas, and narrative poems used for social and political criticism. Contemporary writing has begun to deal with larger

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    Bicol Literature

    Uploaded by

    John Paul Luna
    9K views2 pages
    1) Bikol is the language of around 5 million people in the Bikol Region of the Philippines. The Bikol people have a long tradition of writing, including folk poems and narratives with mythical content. 2) During colonization, native writing was suppressed but after a few centuries, writers began adapting Biblical stories and dramas to the Spanish writing system for festivals. The first Bikol newspaper was published in 1890. 3) Various genres became popular over time, including corridos (metrical romances), comedias (moro-moro plays), zarzuelas, and narrative poems used for social and political criticism. Contemporary writing has begun to deal with larger

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    1) Bikol is the language of around 5 million people in the Bikol Region of the Philippines. The Bikol people have a long tradition of writing, including folk poems and narratives with mythical content. 2) During colonization, native writing was suppressed but after a few centuries, writers began adapting Biblical stories and dramas to the Spanish writing system for festivals. The first Bikol newspaper was published in 1890. 3) Various genres became popular over time, including corridos (metrical romances), comedias (moro-moro plays), zarzuelas, and narrative poems used for social and political criticism. Contemporary writing has begun to deal with larger

    Copyright:

    Attribution Non-Commercial (BY-NC)
    Download as DOCX, PDF, TXT or read online from Scribd
    Download as docx, pdf, or txt
    9K views2 pages

    Bicol Literature

    Uploaded by

    John Paul Luna
    1) Bikol is the language of around 5 million people in the Bikol Region of the Philippines. The Bikol people have a long tradition of writing, including folk poems and narratives with mythical content. 2) During colonization, native writing was suppressed but after a few centuries, writers began adapting Biblical stories and dramas to the Spanish writing system for festivals. The first Bikol newspaper was published in 1890. 3) Various genres became popular over time, including corridos (metrical romances), comedias (moro-moro plays), zarzuelas, and narrative poems used for social and political criticism. Contemporary writing has begun to deal with larger

    Copyright:

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    Download as docx, pdf, or txt
    of 2

    John Paul M.

    Luna BSIT III_A

    BiCOL LITERATURE

    BIKOL IS THE LANGUAGE of almost 5 million people in the provinces of Albay, Camarines Norte,
    Camarines Sur, Catanduanes, Masbate and Sorsogon that constitute the Bikol Region. The Bikol people
    have a writing tradition with roots in its ancient folkways. Still extant are charm verses exploiting the
    possibilities of words in folk poems and narratives with mythical content, and bound with early historical
    fragments which form part of the people's lives.

    Colonization stifled native writing, however. Only after about two centuries later did the people begin to
    write poems and plays adapted from Biblical stories — this time in the Spanish writing system. These
    dramatic tropes were street presentations during May festivals, Christmas, Easter and Lent. In 1890, the
    first Bikol newspaper An Parabareta (the Newsman) was published by Mariano Perfecto, who also
    established the first printing press. Imprenta de Nuestra Señora de Peñafrancia. In the midst of
    numerous devotionals and religious poems, there appeared two protest plays — "An Pagguiao kan mga
    pastores can pagcamondag ni Jesus duman sa portal sa belen" (The awakening of the shepherds of Jesus
    birth) by Mariano Perfecto and "Comedia na dapit sa Dios o magna cahayagan can pagcamondag ni
    Jesus" (A play about God or matters concerning the birth of Jesus). The first play says that the people
    accepted the faith but not the Spaniards; the second tries to localize the character Mary, humanize
    Herodes and make the coronation of Mary an occasion of revelry through two comic characters.

    Corridos or metrical romances became the main reading fare for many years. Translation from Spanish
    to Bikol were eagerly awaited that writers switched to translating for the money it brought them. In
    time, Bikol corridos were written. The most popular was Mag-amang Pobre (The Poor Father and Son).

    The comedia or moro-moro stayed for a long time. Almost every town boasted of a comedia writer and a
    theater group. The lavish and pompus comedia that Juan Alvarez Guerra saw in the 1880s in Albay has
    been so well described. Count on the Bikol to write protest comedias — Comedia ni Hadeng Grimaldo sa
    Reinong Irlanda by Sabas Armenta and Drama en Comedia de la Vida Conde Urbano by Juan Miraflor.
    The first is a deviation from the Moro as villain theme;  the second advocated democracy and favors
    electing town leaders.

    The  Commonwealth Period were years of poetic and dramatic productivity. The zarzuela did not escape
    the Bikol's questioning bent. Asisclo Jimenez's Pagkamoot sa Banuang Tinoboan (Love for the Native
    Land) demonstrated that national change can be affected through armed revolt. Jimenez wrote 25 other
    zarzuelas in varying themes, mostly social criticism. Crowds would attend the presentations.

    By the mid-thirties, shorter plays became the fashion. The new themes were poor vs. rich, laziness vs.
    hard work and Rizal and nationalism. Outstanding was Anti Cristo by Justino Nuyda who wrote of the
    inevitable conflict between individual morality and material comfort. This play is still presented today in
    schools in the region.
    The rawitdawit or narrative poem was a vehicle of social and political criticism. Personal poems were
    most plentiful. The period also produced about twenty translations of Jose Rizal's Mi Ultimo Adios to
    Bikol. Four poets and their works stand out: Manuel Fuentebella's An Pana (The Arrow), Clemente
    Alejandria's Pagaroanggoyong (Perseverance), Eustaquio Dino's Balosbalos Sana (Retribution) and
    Mariano Goyena's Hare...Dali (No...Don't). Great sensitivity and exquisite images are marks of these
    poems, reaching up to lyricism.

    The Post-War Period was unproductive. It was the Cathedral Players of the Ateneo de Naga that sparked
    the cultural scene. The students led by Rev. James Reuter, SJ translated english plays into Bikol and
    delighted the Naga folks with Sunday presentations at the plaza kiosk. In the rural towns they played in
    church patios and plazas. If post-war writing was not as significant, the Bikol milieu was not encouraging
    either. The stories and novels written in the fifties were insipid and mere narrations; the novels fantastic
    and improbable. Writing in the Rainbow journal were largely cerebral and critical of politics, church and
    society. It was the people's interest in the folk story, Ibalon, that inspired two musicals the Handyong
    written and presented by Orfelina Tuy and Fe Ico, and Ibalon Opereta written by Jose Calleja Reyes.

    Contemporary writing has just began to burst with creative energy. The writers now possess the courage
    to deal with big themes. It began with Francisco Penones, Jr. who sounded a clarion call in his poem An
    Opon sa Ibalon: Kan mahale an Maskara (The Board in Ibalon When Unmasked). Society, he declared, is
    the boar that brought hunger and poverty to the land. For this poem, Penones received a CCP award. 
    Merlinda C. Bobis in a masterly poetic drama titled Daragang Magayon (Beautiful Maiden) overturns the
    passive maiden in the legend and makes her decisive to do her part in changing society. In her poems,
    Bobis subtly presents an idealism associated with remembering one's childhood, each of them a strong
    and evocative protrait only thoughtful, sensitive poet can create. For this, she merited a Palanca award.
    Carlos O. Aureus weaves together theology and philosophy to present Bikol values and a panorama of
    Bikol scenes. In ten well-written stories, a novel and a play, he wins the coveted Palanca, CCP, Free Press
    and Graphic literary awards. The young literary fictionists, Marco Lopez, Alvin Yaban, Ulysses P. Aureus
    and Lorenzo D. Paran III are searches for self, identity and nation.

    The seasoned writers include Luis Cabalquinto, Gode Calleja and Rudy Alano. The young writers are
    Home Life magazine winners Angelica Gonzales, Honesto Pesimo, Jazmin Llana, Victor Velasco, Nino
    Manaog, Xavier Olin and Cynthia Buiza. Emelina G. Regis has a Palanca Award for her environmental play
    Dalawang Mukha ng Kagubatan (Two Faces of the Forest). Barbara Barquez Ricafrente writes poems
    and paints with rage. She is the first novel awardee of the U.P. Creative Writing Center.

    The Bikolano can write memorable and significant pieces. The native literary tradition has been
    resurrected and kept. How to make the people aware and how to make them read as well and how to
    multiply these writings so they can be disseminated have to be resolved.

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