A FILM STUDY GUIDE

Alvin D. Campomanes
 A FILM STUDY GUIDE
Alvin D. Campomanes 1

INTRODUCTION

This is the official film study guide of Goyo Ang Batang Heneral (2018). This contains
learning aids – a timeline, visuals, links to useful resources, worksheets, discussion
notes, a reading list, and suggestions for pre-viewing and post-viewing activities.
This resource was crafted to help audiences gain a deeper understanding and
appreciation of the film.

1. Alvin D. Campomanes is Head and Coordinator of the BA Social Sciences (Area Studies) Program of the University of the
Philippines (UP) Manila. He was co-author and co-editor of the first guide book in teaching history in the national language:
Kaalaman at Pamamaraan sa Pagtuturo ng Kasaysayan (2008). He also authored the official study guide of Heneral Luna
(2015). He is co-founder, CEO and Director for Education and Research of Sucesos-Filipinas Inc., a company that specializes in
organizing tours and events on Philippine history and cultural heritage. You may reach him at vin.campomanes@gmail.com.

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ABOUT THE FILM

Goyo Ang Batang Heneral (2018) is a biopic on

General Gregorio del Pilar set during the Filipino-American
War. It is the sequel to the critically-acclaimed and
immensely popular Heneral Luna (2015). The second
part of an envisioned historical trilogy, it follows the
fledgling Philippine Republic’s heroic struggle against
American imperialism from the brutal assassination
of General Antonio Luna to the Battle of Tirad Pass.
Like the first film, Goyo is an attempt to examine our
faults and weaknesses as a people using our historical
experience. It expounds on themes like loyalty, maturity,
responsibility, heroism, and nationhood.

BEFORE WATCHING THE FILM

GOYO: BIOGRAPHY AND HISTORY
Before you watch the film, you will need a good background on Gregorio del Pilar and the
period in which he lived. In this timeline, Goyo’s biography is purposely woven into his milieu.

November 14, 1875 born in Bulacan, Bulacan to Fernando del Pilar (brother of
Marcelo) and Felipa Sempio; note that he was born 3 years
after the Cavite Mutiny and the execution of the GOMBURZA;
studied in the town schools

1887-1896 continued his studies in Manila; first under Pedro Serrano

Laktaw; lived in the house of Deodato Arellano, husband of
his aunt Hilaria del Pilar; Arellano was a renowned figure in
the reform movement; he was also the first Supremo of the
Katipunan; took up his Bachiller en artes at the Ateneo
Municipal de Manila (1889-1896); he received excellent in
arithmetic and algebra, very good in rhetoric and poetry;
di strib ut ed subversive b ooks, let t ers, p amp hl ets,
packages while he was studying; he was supposed to study
at the School of Arts and Trades but those were restless
months, the country was on the brink of a revolution

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August 1896 the Katipunan-led revolution broke out in Manila under the
leadership of Andres Bonifacio; it also started in Bulacan – led
by a circle of young men who had gone to Manila to study (e.g.
the del Pilars, Enriquezes, Gatmaitans, Karagdags, Tecsons,
Estrellas, Torreses); Goyo returned to Bulacan and joined the
forces of Eusebio Roque (“Maestrong Sebio”) at Kakaron de Sili
in Santa Maria de Pandi

December 30, 1896 Jose Rizal was executed by firing squad at Luneta de
Bagumbayan, Manila

January 1, 1897 the Spaniards captured Kakaron de Sili; a bullet from a

Remington rifle grazed Gregorio’s forehead but without much
damage; their heroic defense of Kakaron won for him
recognition and a promotion to Lieutenant; he led an attack
on a Spanish column in Ermita, Mambog

August 31, 1897 led the attack on Spanish troops posted in Paombong; this
brilliantly executed raid won for the young revolutionary fame
and prestige; Goyo’s troops used their own tricolor flag in their
military campaigns (black, red, blue); this signalled his entry to
the circle of seasoned military officers in Biak-na-Bato; Emilio
Aguinaldo promoted Goyo to Lieutenant Colonel

November 1, 1897 Goyo was one of the signatories of the provisional constitution
(i.e. the Biak-na-Bato Constitution)

December 15, 1897 the last document of the Truce of Biak-na-Bato was signed

December 27, 1897 Aguinaldo and other high ranking revolutionaries sailed for
Hongkong; Aguinaldo brought Goyo with him
February 14, 1898 Goyo was elected to the Supreme Council of the Comite
Central Filipino (i.e. the Hongkong Junta)

May 1, 1898 the US Asiatic Squadron under Commodore George Dewey

prevailed over the Spanish navy under Admiral Patricio
Montojo in the Battle of Manila Bay

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May 19, 1898 Aguinaldo returned to the Philippines with Gregorio

del Pilar; Aguinaldo named him Dictator of Bulacan
and Nueva Ecija

May 28, 1898 Battle of Alapan, Imus

June 12, 1898 Philippine independence was proclaimed in Kawit, Cavite

June 24, 1898 Goyo liberated his home province from the Spaniards

August 13, 1898 “Mock Battle” of Manila; Filipino troops had surrounded
Intramuros but the Spaniards surrendered it to the American
forces; terms of capitulation inked in the Ayuntamiento; the
Americans had taken the capital

September 9, 1898 capital of the Philippine Republic transferred to Malolos, within

the zone commanded by Goyo
September 15, 1898 Aguinaldo convened the Revolutionary Congress in Malolos
(i.e. the “Malolos Congress”)
September 29, 1898 Congress ratified the declaration of independence in Kawit

December 10, 1898 Philippines ceded to the US for 20 million dollars via the
Treaty of Paris (this will be ratified by the US Congress
February 1899)

December 21, 1898 US President William McKinley issued his so-called

“Benevelont Assimilation” Proclamation

January 21, 1899 Aguinaldo promulgated the constitution drafted by Congress

(i.e. the “Malolos Constitution”)

January 23, 1899 the Philippine Republic was inaugaurated in Malolos (i.e. the
“Malolos Republic”); Goyo was appointed Commanding Officer
of the Army stationed in Bulacan

February 4, 1899 Filipino-American hostilities broke out February 4, 1899 in

Santa Mesa; the Philippine-American War begins

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February 5, 1899 Battle of La Loma; Gen. Antonio Luna called on the Del Pilar
Brigade, two companies of the Pampanga Brigade, and the
remaining troops to establish a line of defense towards
Caloocan

February 10, 1899 Battle of Caloocan; Goyo retreated to Bulacan and

re-organized his troops

March 29, 1899 the capital of the Republic was transferred to San Isidro,
Nueva Ecija

March 31, 1899 Fall of Malolos

April-May 1899 Goyo led his Brigade in defending territories in his beloved
Bulacan: Baliuag, Bustos, San Rafael, San Miguel fell
April 23, 1899 American cavalry faced defeat in the hands of Goyo in the
Battle of Qingua (now Plaridel); Col. John Stotsenberg was
killed
May 5, 1899 US Secretary of State John Hay proposed autonomy through
the Schurman Commission

May 8, 1899 a new cabinet led by Pedro Paterno and Felipe Buencamino
was formed; Mabini was replaced by Paterno as president of
Aguinaldo’s cabinet

May 22-23, 1899 Goyo was appointed as a member of the second Peace
Commission that held conferences with the Schurman
Commission and General Otis

June 5, 1899 Gen. Antonio Luna and his aide, Col. Francisco Roman, met
their tragic end in Cabanatuan, Nueva Ecija; they were
murdered by soldiers of the Kawit Battalion; Aguinaldo
transferred the capital to Bamban, Tarlac before he proceeded
to Angeles, Pampanga

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June 7, 1899 Goyo surrounded Luna’s headquarters in Bayambang,

Pangasinan; Angel Bernal, the youngest of the Bernal
brothers was disarmed, slapped and jailed; Goyo proceeded to
Dagupan and arrested Major Manuel Bernal; Manuel and Jose
Bernal were liquidated.

Between June and November 1899 were five months of quiet

in the front; five months of inactivity by the Americans; Goyo
engaged in a number of love affairs, ordered the best horses,
the best riding boots to show off his horsemanship

October 19, 1899 Goyo’s forces in San Isidro, Nueva Ecija were routed; around
this time, Aguinaldo moved his capital to Bayombong, Nueva
Vizcaya

Goyo stayed in Dagupan, Pangasinan; Aguinaldo appointed

him as Commandant General of Pangasinan

November 6, 1899 American ships bombarded San Fabian, Pangasinan

preparatory to the landing of troops
November 13, 1899 Aguinaldo held a council of war with General Venancio
Concepcion, General Jose Alejandrino and other officers; they
decided to divide into small bands and adopt guerilla warfare;
Aguinaldo, his wife, son, mother, sister, cabinet secretaries,
and other military officers boarded a train for Calasiao; they
were joined by Goyo’s brigade in Santa Barbara; Goyo
commanded the vanguard while Col. Montenegro commanded
the rear guard; they marched to Pozorrubio; this was the
beginning of the oddyssey of Aguinaldo’s remaining force to
the mountains of northern Luzon
November 23, 1899 Goyo decided to make a last stand at Tirad Pass (Ilocos Sur)
to cover Aguinaldo’s retreat; he ordered his sixty men to build
trenches on both shoulders of the Pass
November 28, 1899 Gen. Samuel B.M. Young arrived in Candon to prevent the
Aguinaldo group from merging with the force of General
Manuel Tinio

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December 1, 1899 Goyo secured Aguinaldo’s approval to defend the Pass and
block the advance of the Americans

December 2, 1899 Goyo died at the age of 24 in the Battle of Tirad Pass

December 10, 1899 Mabini was captured in Cuyapo, Nueva Ecija

December 19, 1899 Gen. Licerio Geronimo’s force killed General Henry Lawton in
the Battle of San Mateo

December 25, 1899 Aguinaldo’s wife and sister were captured in Bontoc

March 23, 1901 Aguinaldo was captured by the Americans in Palanan, Isabela

Despite his captivity, the war continued and the mantle of

leadership fell on the remaining Filipino leaders e.g. Miguel
Malvar (Batangas), Vicente Lukban (Samar); Simeon Ola
(Bicol); Macario Sakay (“Katagalugan” of Luzon), etc. In
Mindanao, the Muslims will continue to resist the Americans
in the Battle of Bud Dajo (1906) and Battle of Bud Bagsak
(1913)

1938 Tirad Pass was declared a national park

1953 Concepcion, Ilocos Sur was renamed Gregorio del Pilar

BACKGROUND READING

Agoncillo (1997, 305-486); Joaquin (2005, 185-208)

Agoncillo, Teodoro A. (1997). Malolos. The Crisis of the Republic. Quezon City: University of
the Philippines Press.

Joaquin, Nick. (2005). A Question of Heroes: Essays in Criticism on Ten Key Figures
of Philippine History. Pasig City: Anvil Publishing.

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AUDIOVISUAL MATERIALS

For an easy-to-read graphic timeline of the Filipino-American War, visit the Malacanang
Presidential Museum and Library website:

http://malacanang.gov.ph/8262-a-graphic-timeline-of-the-philippine-american-war/

For archival photos and other primary sources on the Filipino-American War, visit the
website of Arnaldo Dumindin:

https://www.filipinoamericanwar.com/

For a short documentary on Gregorio del Pilar, see History with Lourd’s Episode 5 (aired
March 21, 2017) entitled Gregorio del Pilar: The Boy General:

https://www.youtube.com/watch?v=4S5L8I9Zg2k

If you have not seen Angelito (2017), the short film that bridges the story of Heneral Luna
and Goyo Ang Batang Heneral, you can watch it here:

https://www.youtube.com/watch?v=DCBRjEuSQNw

To build anticipation for Goyo, you may also let the students watch its full trailer:

https://www.youtube.com/watch?v=DCBRjEuSQNw

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POST-VIEWING ACTIVITIES

Cast
Gen. Gregorio del Pilar Col. Vicente Enriquez
Paulo Avelino Carlo Aquino

Joven Hernando Pres. Emilio Aguinaldo

Arron Villaflor Mon Confiado

Apolinario Mabini Gen. Jose Alejandrino

Epy Quizon Alvin Anson

Remedios Nable Jose Felicidad Aguinaldo

Gwen Zamora Empress Schuck

Don Mariano Dr. Simeon Villa

Robert Seña RK Bagatsing

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Lt. Garcia Miguel Laureano
Ronnie Lazaro Jojit Lorenzo

Lt. Manuel Quezon Private Simmons

Benjamin Alves Bret Jackson

Hilaria Aguinaldo Col. Julian del Pilar

Che Ramos-Cosio Rafa Siguion-Reyna

Major Manuel Bernal Angel Bernal

Art Acuña Tomas Santos

Capt. Jose Bernal Lt. Telesforo Carrasco

Alex Medina Matt Evans

Maj. Peyton March Lt. McClelland

John Dewey Ethan Salvador

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Production List
Director Jerrold Tarog Production Design Roy Lachica
Producer Daphne O. Chiu Set Decorator Monica Sebial
Joe Alandy Costume Design Steve Salvador
Executive Producers Fernando Ortigas Make up Juvan Bermil
E.A. Rocha Prosthetics Cari Dawn-Conejero
Paulo Avelino Colorist Marilen Magsaysay
Joe Caliro (Mediaeast)
Quark Henares Sound Albert Michael Idioma
Production Manager Lexter Tarriela (Wild Sound)
Co-Executive Producer Vincent Nebrida VFX Director Jauhn Dablo
Screenplay Rody Vera (Blackburst)
Jerrold Tarog Camera and Lights CMB Films
Director of Photography Pong Ignacio
Editor Jerrold Tarog Production Companies TBA Studios and
Globe Studios

WORKSHEET 1: INTRODUCING THE FILM CREW

1. Watch Goyo’s behind the scenes on Youtube:

https://www.youtube.com/watch?v=2VhQcBkM11c

2. Film production is always a collective work. According to Roland Tolentino (2014, xvi),
film is the “most industrialized” of the arts because each element of film has its own
specialists. Download Kodak’s Essential Reference Guide for Filmmakers from the Kodak
website:

https://www.kodak.com/lk/en/motion/Education/Publications/Essential_reference_
guide/default.htm

Read the chapter on the “film crew” (pp. 83-90). Familiarize yourself with the valuable role
of each member. Choose three members of the Goyo crew whose work most impressed
you. Identify specific scenes that demonstrate their contribution to the film.

Reference
Tolentino, Roland B. (2014). Introduksyon: Sinema ng Milenyo: Kritisismong Pampelikula,
Kritisismong Pambansa. In A Reader in Philippine Film: History and Criticism, Jonathan Chua,
Rosario Cruz-Lucero at Roland B. Tolentino (eds). Quezon City: U.P. Press, xi – xxviii.

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WORKSHEET 2: FOCUS ON THE CHARACTERS

Gen. Gregorio del Pilar

1. Who was General Gregorio del Pilar?
2. What significant role did he play during the Philippine Revolution and the
Filipino-American War?
3. In the film, Goyo was haunted by visions. What function did these visions serve in the film’s
narrative? What do these visions tell us about the character of Goyo?
4. Why was he particularly disturbed by Manuel Bernal’s words?
5. Did the film succeed in humanizing Gen. Gregorio del Pilar?
6. What character flaws of Gregorio del Pilar were depicted in the film? Did it or influence
your view of the hero? Explain.

President Emilio Aguinaldo

1. Who was Pres. Emilio Aguinaldo?
2. How was Pres. Aguinaldo portrayed in the film?
3. In Angelito (2017), Manuel Bernal kept on referring to Pres. Aguinaldo as an “idol”
rather than a “leader”. Do you agree with his judgment? Explain.
4. You saw in the film the tortuous odyssey of the Aguinaldo party in the mountains of Northern
Luzon. Did this affect your opinion of Pres. Aguinaldo and the role that he played during
the Revolution and the Filipino-American War?

Apolinario Mabini
1. Who was Apolinario Mabini?
2. How was Mabini portrayed in the film?
3. President Aguinaldo offered the Chief Justiceship of the Supreme Court to Mabini. Why
was he out of government at that time? What previous government post did he hold before
that offer?

Gen. Jose Alejandrino

1. Who was Gen. Jose Alejandrino?
2. What was Gen. Alejandrino’s opinion of Gen. del Pilar?
3. Why was he spared from the arrest, torture, and liquidation of Luna’s friends and
partisans?

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Joven Hernando
1. I had pointed out in the study guide of Heneral Luna (2015) that Joven is a fictional
character who facilitates in story-telling. He functions as the surrogate of the Filipino
youth2 in asking questions about our past. If you remember, Joven was a young journalist
who interviewed Antonio Luna in Heneral Luna. In Goyo, he became an assistant to his
uncle, a photographer named Miguel Laureano. What do you think is the significance of
these portrayals of Joven?
2. Some of the most poetic and poignant observations of the Filipino were expressed by
Joven. Which of his lines did you find most thought-provoking?

Col. Vicente Enriquez

1. Who was Col. Vicente Enriquez?
2. How was he portrayed in the film? How different is he from Col. Julian del Pilar?
3. How did Col. Enriquez react to the arrest of the Bernal brothers?

Col. Julian del Pilar

1. How was Col. Julian del Pilar portrayed in the film? What kind of man was he?
2. Teodoro Kalaw claimed that Julian del Pilar loved his younger brother “like a son”. Do you
think this was adequately shown in the film? Why or why not?
3. Towards the end of the film, the del Pilar brothers parted ways after they were given
different assignments. Goyo headed the Republic’s expedition to the north. Why did Julian
have to return to their home province?
4. Whenever Goyo is assailed by unpleasant thoughts, Julian advises him to “remember who
he is” (“tandaan mo kung sino ka”). What do you think is the significance of this statement
to the main theme of the film?

Remedios Nable Jose

1. Who is Remedios Nable Jose?
2. How was she portrayed in the film?

Felicidad Aguinaldo
1. Who is Felicidad Aguinaldo?
2. How was she portrayed in the film?

2. Joven is Spanish for “young” or “youthful”.

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WORKSHEET 3: FOCUS ON THE CONTENT

1. This particular dialogue by Mabini and Alejandrino contains relevant observations on

Philippine society that rings true to this day. Identify some of the problems that the
Philippine Republic faced during the Filipino-American War from this conversation.

ALEJANDRINO Karamihan sa mga heneral natin hindi naturuan ng kahit

konting siyensya militar. Iilan lang ang gumagamit ng kukote
para aralin ang taktika. May iba binatilyo pa lang, heneral
na dahil kamag-anak o paborito ng nasa poder. Kahit ako,
inhinyero. Hindi pa ako sumasabak sa labanan. Pero tingnan
mo ranggo ko.
MABINI Ang mahalaga ay lumalaban tayo.

ALEJANDRINO Totoo. Pero ang karamihan sa kanila ay mga mahihirap,

manggagawa, magsasaka.

MABINI Samantalang ang mga nasa kongreso…

ALEJANDRINO
Sila ang nag-uunahang lumuhod sa harap ng mga
Amerikano. Tagumpay nila ang pagkamatay ni Luna.

MABINI At ang pag-alis ko sa Gabinete.

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2. In Angelito (2017), Manuel Bernal discoursed on the difference between an “idol” and a
“leader”:

Ang idolo, kailangan ng bulag na mananamba para mabuhay. Ang pinuno, kailangan
lang magtanim ng kamalayan sa tao para umusbong ang kanilang taglay na lakas ng
loob. Idolo o pinuno? Anong mas nararapat para sa presidente?

In Goyo, Manuel Bernal mocked Gregorio del Pilar while he was being interrogated and
tortured:

Ang pagkakaiba, ikaw, tapat sa idolo mo. Kaming mga pinatay at papatayin mo, tapat
kami sa isang prinsipyo. Namatay si Luna na isang sundalong may paninindigan. Ikaw,
pumapatay lang dahil sa utos. Hindi ka sundalo, Goyo. Isa kang… aso.

If Manuel refers to Aguinaldo as Goyo’s “idol”, what is his judgment of Goyo as a soldier?

3. Mabini asked if Aguinaldo is offering the Chief Justiceship to silence his criticisms of
Congress. Why was Mabini disliked by the Congress and the cabinet?

MABINI Noong una’y hiniling niyong bumaba ako

sa Gabinete para mamuno si Paterno —

AGUINALDO Para sa kapayapaan —

MABINI Ngayon gusto niyong...

Ano ito, para matigil ako sa pagbabatikos ng mga kabalbalan
ng mga payaso sa Kongreso? Baka nakalimutan mong ayaw
nila sa akin dahil nagsasabi ako ng totoo. Tapos pamumunuan
ko ang Korte Suprema?

AGUINALDO Mabuting tao sina Paterno. Pinagsisikapan nilang maabot

ang kapayapaan.

MABINI Kapayapaan na walang kalayaan.

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4. Gen. Jose Alejandrino negotiated a cease fire with Gen. Elwell Otis. Why did the
dialogue fail? What did Gen. Otis demand from the Philippine Republic?

5. Do you agree with Mabini’s assessment of our political maturity, sense of duty and sense
of common good? How is this in keeping with the main theme of the film?

“Gusto kong patunayan na marunong tayong makidigma, nang may kadakilaan at

paninindigan. Pero dahan-dahan na akong naniniwala, na baka nga tama sila, na
tawagin tayong mga bata… Sa bawat bago at di-inaasahang pangyayari, tayo’y
natataranta at biglang nalilimutan ang mga tungkulin natin. Mas unang pipiliin ang
ginhawa kaysa sariling dignidad. Ito na nga marahil ang tanda ng ating asal-bata.
Dahil madalas, ang sigasig natin ay sumisilakbo, pero mabilis ding naglalaho.”

6. In two separate scenes, Joven Hernando wrote the following musings in his diary:

“Ano ba ang halaga ng isang bayani? Ano ba ang nasa likod ng kadakilaan? Bakit
tayo pirming nakatingala, sumasamba nang walang pagdududa? Bakit tayo bulag na
umaasa sa mga tagaligtas? Sabi ni Heneral Luna, “ang taong may damdamin ay hindi
alipin”; ngunit sa tingin ko’y kung ang damdaming ito ay sanhi ng pagkabulag natin,
alipin tayo ng sarili nating damdamin”.

“… At ang ating mga bayani, habang tinitingala ng madla ay walang malay sa

panganib na naghihintay sa ilalim ng kanilang mga pedestal. Hindi ko na alam
kung anong mangyayari sa amin, itay. Pero ang tiyak ko: hindi na namin kailangan
ng mga bayani, kailangan na namin ng mga sundalo.”

Compare these lines with Manuel Bernal’s discourse on idolatry in Angelito (2017). What
do you think is Goyo telling us about hero-worship? Why did Joven tell his father that “we
no longer need heroes but soldiers”?

7. In the face of an American attack in Pangasinan, President Aguinaldo and General Goyo
visited the Department of War Headquarters in Bayambang to seek an audience with
General Alejandrino. When the President said that they will start waging a “guerilla war
fare” to meet the demands of the military situation, General Alejandrino remarked: “I have
heard of that plan” (“narinig ko na yan”). Why did he say this?

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8. What was President Aguinaldo’s reply to Gen. Alejandrino’s inquiry on the real
story of General Luna’s assassination?

9. Share your thoughts on Lt. Garcia’s remark on the importance of defending our
country:

Sundalo pa rin ako, Heneral. Kapag kailangang ipaglaban ang Pilipinas, hindi ako
tatanggi. Kapag bumagsak si Aguinaldo, may panibagong titindig. Pero ito [showing
the mountain range] – hindi ito napapalitan.

10. What did Goyo mean when he said that they are “soldiers who are filled with love
and not hate”?

GOYO Wala nang halaga ang ating pagdadalawang-isip magmula

nang maglakbay dito. Dalawang tanong lang ang kailangan
niyong sagutin. Ang una: iniibig niyo ba ang bayang ito?

SOLDIERS Opo, heneral!

GOYO Kung gayon, tanggapin natin ang anumang kapalarang

sasapitin natin sa ngalan ng pag-ibig, hindi ng galit.
Matatag ang mga posisyon natin at makakalampas lang ang
mga Amerikano sa ibabaw ng aking bangkay. Kaya ang
ikalawang tanong: nais niyo bang mamatay na
tumatakbong duwag o mamatay sa pakikipaglaban?

SOLDIERS Sa pakikipaglaban!

GOYO Nawa’y maging tapat tayong lahat sa ating mga salita.

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DISCUSSION: FOCUS ON THE FILM

Notes for Discussion

1. In the opening scene, the Aguinaldo party can be seen running for their lives in slow
motion while we hear Mabini’s voice in the soundtrack saying:

“Paulit-ulit kong ipinahiwatig kay Ginoong Aguinaldo na ang tangi niyang kaligtasan
ay ang marangal na kamatayan sa digmaan. Ang kabayanihang iyon ang magbabalik
ng kanyang reputación at siyang magbibigay karangalan sa mga Pilipino, gaya ng
sakripisyo ni Dr. Jose Rizal. Ngunit hindi nasunod ang mungkahi ko.”

These lines were inspired by The Philippine Revolution (La Revolución Filipina). What did
the director want to achieve in the opening scene? Aside from offering a context, what is
the purpose of the quotes from Teodoro Kalaw and Nick Joaquin?

2. What is the significance of the scene that showing soldiers of the Republic maltreating
Igorots?

3. In the feast in honor of Goyo, there was a performance celebrating his life and military
exploits. How did this facilitate in story-telling?

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4. Jerrold Tarog, the director of the film, holds a degree in music, major in composition.
Identify scenes where the soundtrack contributes to the mood or atmosphere of those
scenes.

5. How were the Americans portrayed in the film?

6. According to Pong Ignacio, Goyo’s Director of Photography (DOP), he studied the works of
British filmmaker David Lean, e.g. Bridge Over River Kwai (1957), Lawrence of Arabia
(1962) and Doctor Zhivago (1965) to learn how to render “epic” scenes on screen. It turns
out that this meant “filling the frame with elements in the foreground, midground and back
ground”. How did this technique affect our viewing experience? The following frames were
posted by Mr. Ignacio on his Facebook account. The 1st frame is from Bridge Over River
Kwai (1957).

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Discuss two scenes that demonstrate how elements of the cinematic art, e.g. shot
framing, camera movement, camera angles, color scheme, editing, or length of take
were used by the filmmakers to convey their message.

7. In the conversation of Gen. Alejandrino and Mabini, the former remarked that an entire
“generation of cowards and liars” joined the Revolution for their personal gain:

“Isang henerasyon ng mga duwag at sinungaling ang nakiangkas sa labang ito. Sa

susunod na henerasyon na lang ako umaasa.”

This is consistent with General Alejandrino’s observations in his The Price of Freedom
(La Senda del Sacrificio) (1949):

“The enlightened class who came to Malolos in order to fill honorific positions which
could serve to shield them against the reprisal of the people for their previous
misconduct (of betraying the first phase of the revolution), flew away like birds with
great fright upon hearing the first gun report, hiding their important persons in some
corner, meantime that they could not find protection of the American army. Only a few
followed the Government in its odyssey and, certainly, less enlisted in the army.”
(p. 110).

“The great majority of the rich and educated elements who had been attracted to the
cause of the Revolution during its successes were in no manner capable of following
up in times of adversities. Neither were they imbued with self-abnegation
and patriotism to stake their material interests and conveniences and, much less
their lives, on the hazards of an arduous and unequal struggle. Undoubtedly, upon
the outbreak of the war they were sincere in manifesting that all the Filipinos should
fight to the end, but subsequent events demonstrated that their convictions were not
deep-rooted. For hardly had they encountered the opportunity, they formed without
honorable exception the nucleus of the pro-annexation Federal Party which worked so
hard to disarm by all means imaginable men whom they themselves had encouraged to
fight the war.” (p. 113)

“The vices and defects stated in these pages are not peculiar to specific persons but
are true to a whole generation. I am of the opinion, however, that history is written
not to unduly praise a nation and, much less, certain specific persons, but to point out
to future generations the vices and defects incurred by their ancestors which became
the cause of the misfortunes of the country, in order that they may avoid them in the
future.” (p. 115)

According to Milagros Guerrero (2015, vi), historical records show that the Americans
did not seek to obtain the collaboration of Filipino elites. They presented themselves as
“willing and able cogs” in the machine that the Americans were set to establish.

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8. The scene where Gen. Alejandrino was almost shot by Lacuna in the train station of
Bamban, Tarlac is accurate. Alejandrino narrated it in The Price of Freedom (1949, 159).
He said that the Lacuna and his men were stationed in Bamban to prevent Luna from
reaching Angeles “at all costs” should he survive the assassination attempt in Cabanatuan.

9. “Gusto kong patunayan na marunong tayong makidigma, nang may kadakilaan at

paninindigan. Pero dahan-dahan na akong naniniwala, na baka nga tama sila, na tawagin
tayong mga bata… Sa bawat bago at di-inaasahang pangyayari, tayo’y natataranta at
biglang nalilimutan ang mga tungkulin natin. Mas unang pipiliin ang ginhawa kaysa
sariling dignidad. Ito na nga marahil ang tanda ng ating asal-bata. Dahil madalas, ang
sigasig natin ay sumisilakbo, pero mabilis ding naglalaho.” This crucial voice over by
Mabini was based on an actual letter of Apolinario Mabini to Gregorio del Pilar’s uncle,
Marcelo H. del Pilar, dated April 29, 1895:

“I am becoming more convinced that those who call us children are right because
here enthusiasm flares up and disappears in a matter of moments. Each new and
unexpected event distracts us in such a way that it makes us forget obligations
that we have previously contracted. Adding to this eagerness to conserve a
relative tranquility and physical comfort at the cost of personal dignity, you will be
convinced that those symptoms are proper of childhood. As long as we remain
in this state, we cannot fight our enemies, because we shall not have finished yet
the struggle among ourselves.” (Mabini, 1965, 29)

Obviously, the context of the writing was different. The letter was written one year before
the Philippine Revolution broke out. However, because the weaknesses of character that
Mabini mentioned are so vividly shown in both Heneral Luna and Goyo, the audience may
still find the narration convincing, if not totally accurate. This observation of Reynaldo Ileto
(1999, 26) conforms with Mabini’s pronouncements:

On racial grounds the Americans felt they could be entrusted with a rational
implementation of colonial policy. The unlettered indios, on the other hand, were seen to
be largely governed by “impressions of the sense and the imagination”; they were likened
to “young children.”3

10. The scene where Goyo, Julian, Vicente, and Joven were almost shot by Filipiino
soldiers while they were swimming in a river really happened. It was related by Vicente
Enriquez himself in an interview that can be found in Kalaw (2003, 51).

3.“They” here refers to the Filipino ilustrados who were more than willing to collaborate with
the Americans.

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11. Below is the transcription of Mabini’s voice over in the montage towards the end of the
film. If you noticed, the story-telling has come full circle because it continued the
opening scene. The montage contains scenes like the retreat of Gen. Alejandrino, the
escape of Major Quezon and Gen. Mascardo, the treacherous arrest of President Aguinal
do and the exile of Mabini to Guam.

Nabigo ang Rebolusyon dahil mali ang pamumuno dito. Sa halip na suportahan ni
Ginoong Aguinaldo ang mga taong tunay na naglilingkod sa bayan, tinanggalan pa
sila ng pakinabang. Ang mahalaga kay Ginoong Aguinaldo ay hindi ang abilidad at
pag-ibig sa bayan ng isang tao kundi ang kaniyang pakikisama. Dahil pinabayaan
niya ang taumbayan, iniwan din siya ng mga ito, at mabubuwal siyang parang
estatwang walang halaga. Nawa’y hindi natin malimutan ang malagim na aral na
ito, na itinuro sa atin kapalit ng matinding pagdurusa. Kapag tayo’y hindi natuto,
mamamatay tayong isip-bata, na hindi nakakamtan ang kadakilaan.

These lines were from Apolinario Mabini’s The Philippine Revolution (La Revolución Filipina)
his account and critique of the Revolution, which he wrote from 1901-1903 while he was in
exile in Guam. If you want to read it in English, Leon Ma. Guerrero’s translation can be
accessed in the Malacañang Presidential Museum and Library website:

http://malacanang.gov.ph/8143-the-philippine-revolution-by-apolinario-mabini/

Or, if you prefer to read it in Filipino, Michael Coroza’s translation is downloadable from the
website of the Komisyon sa Wikang Filipino (KWF):

http://kwf.gov.ph/wp-content/uploads/2016/11/Ang-Rebolusyong-Filipino.pdf

12. General Alejandrino corrected the alcalde when the latter claimed that Goyo was the
“youngest general” of the revolution. Gen. Alejandrino reminded the group that General
Manuel Tinio was younger than Gen. Gregorio del Pilar. This is historically correct.

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13. Before Heneral Luna ended, there is a man being tortured before he got shot in the
head. This is Major Manuel Bernal. Then, Captain Jose Bernal can be seen running before
he got cornered by a man who shot him on the chest. In Goyo, the arrest, torture and
execution of Manuel Bernal was shown.

This is what historian Teodoro Agoncillo said in his Malolos The Crisis of the Republic (1997,
443):

The thirst for vengeance by those who were affected by Luna’s discipline and
militarism did not end with his murder. Manuel Bernal was arrested in Dagupan,
Pangasinan by troops under General Gregorio del Pilar. He was stripped of his
uniform and insignias and tortured until he fell unconscious. A few days later, he was
shot by a certain Major Gatmaitan at the barrio of Bunuan. Captain Jose Bernal was
shot in Angeles, Pampanga by a group of soldiers under Col. Servillano Aquino on
June 16, 1899.

In A Question of Heroes (2005), Nick Joaquin cited a testimony by Angel Bernal (196):

“In the government building, General del Pilar and his brother Julian stripped my brother
Manuel of his uniform and military insignia; and between those two brothers, Gregorio and
Julian, he was tortured in my presence, flogged with barbarous fury until he was
unconscious, bathed in his own blood, but without having emitted even a whimper.”

14. When Aguinaldo met Goyo in Dagupan, he warned the latter about the presence of the
Guardia de Honor. This is how the historian Milagros Guerrero (1982, 156) described
the Guardia de Honor:

In Pangasinan, the Guardia de Honor is a peasant society whose membership numbered

4,000 in August 1897, that seems to have worked in hand in hand with the Katipuneros in
the continuing insurrection. Spanish repression served only to increase its following not only
in Pangasinan but also in La Union and Zambales.

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DISCUSSION: HISTORY, FILM AND THE HISTORICAL FILM

Notes for Discussion

This is how the Cultural Center of the Philippines (CCP) Encyclopedia of Philippine Art
defines historical films:

… based on real lives or actual events that happened in the distant past. The first type
focuses on true life stories or biographies of famous persons, such as heroes and
heroines, as well as notorious personalities, such as bandits and criminals, and under
world who existed at one time or another in the past. The second type deals with
historical places and events which are resurrected into film (CCP 1994, 88 as cited in
Santillan 1998, 156).

Following this definition, there are two kinds of historical films: (1) those that use history
as context and (2) those that attempt to be direct representations of a particular historical
period, place or personality (Navarro 2008, 134 as cited in Campomanes 2015, 2). Despite
taking creative liberties in interpreting the character of historical figures and in the
sequencing of events, Goyo (2018) is a good example of the second category. It is a notable
attempt to depict General Gregorio del Pilar and the historical context of his heroism.

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For a long time, academic historians dismissed historical films as mere entertainment.
Historical films emotionalize, dramatize and personalize the past (Deshpande 2004, 4458).
While the stories may be set in a given historical period, these are still romances – simplified
stories of heroes and heroines. These films are markedly different from the serious world of
history and politics that can be found in our books (Rosenstone, 2006, 3). The historian’s
attitude may be attributed to his training in historical scholarship, which puts a premium on
the scientific handling of primary and secondary sources. To accept film, especially the
dramatic feature film as “serious” history therefore was unthinkable. Briley (2002, 3) noted
that even in teaching, the use of films is discredited as “lacking in intellectual rigor”.

According to Toplin and Eudy (2002,8) the study of films gained greater respect in academia
from the 1980s and 1990s. In the Philippines, contemporary film criticism began in the
1970s (Tolentino 2014, xi). John E. O’Connor stressed the importance of film and television
in the study of cultural history. He argued that students should be taught how to critique
visual media. He also advised historians to study the production techniques of film (Toplin
and Eudy, 2002, 7). The historian Marco Ferro (1983) insisted on the need to look into the
“social, political and historical function” of films. Film studies became increasingly rigorous
and acceptable in historical scholarship at the university level (Briley 2002, 3). History
journals began to regularly publish film reviews and scholarly engagements on film.
According to Pierre Sorlin (1988, 3), historians came to realize that any film should be
understood in the context of its production. Rosenstone and Toplin wrote insightful
pioneering works on the dynamic relationship of history and film.

It was the historian and literary critic Hayden White (1988, 1193) who coined the term
historiophoty to describe “the representation of history and our thought about it in visual
images and filmic discourse”. This is different from historiography, which is the “representation
of history in verbal images and written discourse”. White used historiophoty in his response
to the essay of fellow historian and leading film scholar Robert Rosenstone which appeared
in the same issue of the American Historical Review.

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The power of film lies in its audiovisual nature (Campomanes 2015, 1). A film can make us
“seem to live through the events that we witness on screen” and this is what most clearly
distinguishes the historical film from written history (Rosenstone, 2006, 16). Combining
various elements, a historical film provides us an image of the past; it can evoke emotions
and make us feel strongly about the characters. Film has a unique potential as a medium of
narration (del Mundo Jr., 7). As Rosenstone (2006, 17) puts it, films “want you to experience
the hurt (and pleasures) of the past”. Filipino critic Bienvenido Lumbera (1999, 191) stressed
that the [Filipino] film allows its audiences to “witness an individual’s joy and pain in
involving us in the workings of a particular character’s heart and mind.”

Films, figuratively speaking, “bring history to life” through its flesh-and-blood actors, score,
sound effects, production design, emotional subtleties, etc. (Deshpande 2004, 4458). Even
the most gifted historians will find it difficult to match the experience of learning history
through an audiovisual spectacle like film. By following the adventures of characters who are
at the center of the historical process, we also learn things about historical events like natural
disasters, wars, dictatorships, revolutions, etc. In this sense, Rosenstone (2006, 16) argued
that film is closer to biography, micro-history or popular narrative rather than academic
history. Film can work effectively for explorations into history (White as cited in Toplin and
Eudy, 2002, 8).

Analyzing how historical events, personalities and processes are represented in visual images
requires mastery of a “grammar” that is different from that used in purely verbal discourse
(White 1984, 1193; Rosenstone 2006, 7). Since historical films are also works of art, it is
wrong to study, analyze and understand them using the standards of “historical truthfulness”
alone. Rather, they should also be evaluated using the standards of “creativity” in art
(Navarro 2004, 6 as cited in Campomanes 2015, 2).

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TEACHING USING HISTORICAL FILMS

Educators have been taking notice of the visual and aural stimuli that films provide. Historical
films can trigger an unprecedented curiosity of the past among people who would not
normally read history books (Sorlin, 1988, 15). Today, historians and teachers of history
are no longer uneasy or hostile to historical films as their predecessors (Toplin and Eudy,
2002, 11). Incorporating the use of film in classroom instruction is no longer new to
both History and Education. However, teachers often limit their use of videos inside the
classroom to showing documentaries. Perhaps historical films are being avoided because of
issues like the use of dramatic license and historical inaccuracies.

One thing that teachers ought to consider in using film as a teaching material is its
aesthetic dimension. Students need to learn how to scrutinize film as an art form before they
can interpret cinematic meaning (Briley 2002, 4). Exposing the students to cinematic
vocabulary is a good starting point in teaching them how to evaluate films. Derelioglu and
Sar (2010, 2019) noted that analyzing a film is a good exercise for students because it
allows them to develop their own ideas rather than just memorize information.

Any aspect or manifestation of reality that consists of form, language and production is a
text (Flores and Sta. Maria-De la Paz 1997 as cited in Campomanes, 2008, 118). Therefore,
films can be considered as “texts”. If films are texts, then they can be analyzed textually,
contextually, intertextually and subtextually (Navarro, 2008, 136). Textual analysis focuses
on content, language and form. Critiquing the quality of direction, content of the screenplay,
acting, cinematography and other elements of film fall in this category. Examining the
context of the film, the filmmaker and its audience is called contextual analysis. This is
probing into the complexities of the intersections of film and history. Why was it produced
at a certain time? What did the filmmaker intend to communicate? How was it received by
the audience? Intertextual analysis is comparing a given historical film and its historical and
artistic context with other available texts. Lastly, subtextual analysis is searching for hidden
or silenced voices in a given text (Navarro 2008, 136).

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ON ARTISTIC/ CREATIVE LIBERTIES

Film is a medium of ommission – it cannot present the complexities, nuances and

contradictions of historical phenomena. Its mode of narration is different. Its narrative need
to be streamlined. This task of streamlining entails maximizing the use of cinematic
techniques to achieve the vision of the filmmakers. There will have to be some kind of
privileging of voices and perspectives to ensure that the narrative is seamless (del Mundo Jr.
7). According to Patrick Flores (1998, 194), filmmakers do not use technology to express an
abstraction; rather, it uses specific images to bring to life particular aspects of reality.

At the outset, we must accept that films are only a creative approximation of what happened
in the past. They should be viewed as fictional to a certain extent. Students should therefore
learn how to judge the myriad ways in which film summarizes historical data and symbolizes
complexities that otherwise could not be shown. According to Rosenstone (2006), films will
ways include images that are both invented and true; true in that they represent, summarize
or condense data; true in that they impart a meaning of the past that can still be
documented, verified or argued.

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REFERENCES

Briley, Ron. (Summer 2002). Teaching Film and History. Magazine of History, 3-4.

Desphande, Anirudh. (October 2-8 2004). Films as Historical Sources or Alternative History.
Economic and Political Weekly, Vol. 39 No. 40, 4455-4459.

Campomanes, Alvin D. (2008). Paggamit ng Kontemporanyong Kantang Popular sa Pagtu-

turo ng Kasaysayan. In Alvin Campomanes, John Lee Candelaria and Atoy Navarro (editors),
Kaalaman at Pamamaraan sa Pagtuturo ng Kasaysayan. Lungsod Quezon: UP LIKAS, 116-
125.

Cultural Center of the Philippines (CCP) (1994). CCP Encyclopedia of Philippine Art; Volume
VIII: Film. Manila: Cultural Center of the Philippines.

Del Mundo Clodualdo (1999, September). Nasaan ang Saysay sa Kasaysayan? O Paano ba
dapat Isapelikula ang Kasaysayan?. Pelikula; A Journal of Philippine Cinema, 1 (1), 6-9.

Derelioglu, Yasemin and Evren Sar. (2010). The use of films on history education in primary
schools: Problems and suggestions. Procedia Social and Behavioral Sciences 9, 2017–2020.

Ferro, Marc. (1983). Film as Agent, Product and Source of History. Trans. by Anthony Wells.
Journal of Contemporary History. Vol. 18, 357-364.

Flores, Patrick (1998). Ang Pinilakang Himagsikan. In Atoy Navarro and Raymund Arthur
Abejo (editors), Wika, Panitikan, Sining, Himagsikan. Quezon City: Limbagang Pangkasay-
sayan, 183-186.

Le Beau, Bryan F. (Spring 1997): Historiography Meets Historiophoty: The Perils and Prom-
ise of Rendering the Past on Film. American Studies 38:1, 151-155.

Lumbera, Bienvenido. (1999). Pelikula; An Essay on Philippine Cinema. In Tuklas Sining; Es-
says on the Philippine Arts. Manila: CCP, 191-229.

Navarro, Atoy (2004, May). Kasaysayan at Pelikula: Panonood-Pelikula sa Pagtuturo ng Kas-

aysayang Bayan. Balitang ADHIKA, 6 (1), 506.

Navarro, Atoy (2008). Kasaysayan at Pelikula: Panonood-Pelikula sa Pagtuturo ng Kasaysay-

an. In Atoy Navarro, Alvin Campomanes and John Lee Candelaria (eds.). Kaalaman at Pama-
maraan sa Pagtuturo ng Kasaysayan. Lungsod Quezon: UP LIKAS, 133-138.

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Rosenstone, Robert A. (2006). History on Film. History on Film/ Film on History; History:
Concepts, Theories and Practice, ed. Alun Munslow. Harlow, U.K.: Pearson Longman.

Santillan, Neil Martial (1998). Ang Himagsikang Pilipino sa Pinilakang Tabing (1912-1970):
Isang Panimulang Pag-aaral. In Atoy Navarro and Raymund Arthur Abejo (eds.). Wika, Pani-
tikan, Sining, Himagsikan. Quezon City: Limbagang Pangkasaysayan, 183-186.

Sorlin, Pierre. (February 1988). Historical Films as Tools for Historians. Film & History: An
Interdisciplinary Journal of Film and Television Studies, Volume 18, Number 1, pp. 2-15.

Tolentino, Roland B. (2014). Introduksyon: Sinema ng Milenyo: Kritisismong Pampelikula,

Kritisismong Pambansa. In A Reader in Philippine Film: History and Criticism, Jonathan Chua,
Rosario Cruz-Lucero at Roland B. Tolentino (eds). Quezon City: U.P. Press, xi – xxviii.

Toplin, Robern and Jason Eudy. (Summer, 2002). The Historian Encounters Film: A Historiog-
raphy. Magazine of History, Vol. 16, No. 4, Film and History, pp. 7-12.

White, Hayden. Historiography and Historiophoty. AHR Forum. References to Rosenstone,

“History in Images/History in Words,” 1178-80.

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Artistic/ Creative Liberties in the Film

Notes for Discussion

1. The incident involving Gen. Isidoro Torres and Gen. Gregorio del Pilar happened in Malolos,
not in Dagupan (Kalaw, 2003, 33). The pass-in review of troops took place during the
grand military parade in Malolos after the Congress ratified the declaration of
independence on September 29, 1898.

2. Gen. Alejandrino asked President Aguinaldo on the truth behind the assassination of Gen.
Luna. Jerrold said that this scene was based on anecdotes from del Pilar scholar Isagani
Giron and Jose Alejandrino, grand nephew and namesake of the late Gen. Jose Alejandrino.

3. The interaction between Mabini and Gen. Alejandrino. Jerrold says this was done in the
interest of story-telling. A reading of the memoirs of both men will reveal a lot of
commonalities in observations, insights, sentiments and assessments of prominent figures
in the Philippine Revolution. It is therefore convenient to let them speak to each other.

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4. In Heneral Luna (2015), Lt. Garcia was presented by Gen. Luna as an exemplary
soldier and patriot. He is not a fictional character. He had been described by
Gen. Alejandrino (1949, 125) as the soft-spoken, modest, brave and disciplined officer
who commanded a guerilla unit called the Black Guard. The filmmakers of Goyo revived
the character of Lt. Garcia (Ronnie Lazaro) as one of the 60 soldiers who will defend
Tirad Pass from the Americans. He was recruited by Gen. del Pilar and Col. Enriquez in
Cervantes, Ilocos Sur. Before the film ended, a character from Heneral Luna, Capt.
Eduardo Rusca also appeared to greet Joven.

5. The fiesta in honor of Goyo in Dagupan is an invention. It was inspired by Joaquin’s criticism
that the famous, popular, powerful, elegant and good-looking del Pilar became even more
vain after his return from Hongkong (194). In The Price of Freedom (1949, 117),
General Alejandrino mentioned a “young pretentious general” in Bulacan who never
bothered to present himself to General Luna because he only took orders from President
Aguinaldo, of whom he was a great favorite. This general “spent days and nights and
fiestas and dances which flatterers offered in his honor in a neighboring town”.
Gen. Alejandrino may have been referring to Gen. del Pilar, said Nick Joaquin. In the film,
Alejandrino reported to Mabini that the arrest of Luna partisans is being conducted by
Goyo, the “arrogant favorite” of President Aguinaldo.

6. According to Gen. Alejandrino (1949, 163) his meeting with Gen. Otis happened in the
Ayuntamiento, not in the Hotel de Oriente.

7. The photographer Miguel Laureano, Joven’s uncle, is a fictional character.

8. Jerrold read Carlos Quirino’s interview of Remedios that came out in the Philippines Free
Press (December 4,1965). However, he only used that article to interpret the character or
the personality of the cinematic Remedios (Gwen Zamora). The interaction between Goyo
and Remedios is fictional.

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9. The last letter of Goyo to Remedios is fictional. But it was based on the writings of del
Pilar that biographers Kalaw (2003) and Cruz Jr. (1985) had excerpted in their works.

10. According to Jerrold Tarog, it is “impossible to shoot” in Mount Tirad itself. Lex
Tarriela, the production manager of the film had to look for an alternative location. The
Battle of Tirad Pass was shot in Mt. Balagbag. It was “loosely interpreted” to suit the
physical environment of the mountain. The cinematic battle was mainly based on the
account of the American war correspondent John T. McCutcheon with some help by the
film crew’s American consultant, Matthew Westfall. The cinematic rendering of Goyo’s
death, however, was based on Telesforo Carrasco’s account and the testimony of Vicente
Enriquez. The names of the Americans soldiers in the film were based on accounts.

POST-VIEWING ACTIVITIES

1. ANALYZING PRIMARY SOURCES. Reproduce the accounts of the Battle of Tirad

Pass by John McCutcheon, Richard Henry Little, Vicente Enriquez and Telesforo
Carrasco. These are available in the book of Kalaw. Useful excerpts can also be found
in the essay of Nick Joaquin. Study the accounts as a class. Consider the following:
context of writing, intention, perspective, writing, credibility. Are there similarities and
differences in their claims? Which of the four is most convincing? Explain.

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2. REVIEW OF GOYO. Write your own review of Goyo using all the things that you have
learned from this study guide. Publish your work in a newspaper, magazine or blog.

3. ALTERNATIVE OST. Watch Ben & Ben’s Susi on Youtube. Study the lyrics. Write your own
song for Goyo Ang Batang Heneral.

4. ALTERNATIVE MOVIE POSTER. Make your own Goyo Ang Batang Heneral poster.
Write a short essay at the back to explain its elements and charecteristics.

5. LAKBAY-GOYO. Visit landmarks, sites, and museums dedicated to the life and
heroism of Gen. Gregorio del Pilar. Make a photo-essay that contains your reflections.

6. RESEARCH PAPER. Nick Joaquin’s question on Goyo’s heroism deserves an

eloquent and well-researched response. Is Gen. Goyo a hero or a hatchetman? Did he die
for the country or for President Aguinaldo? Discuss as thoroughly as possible. Use APA
citation format for your sources.

7. PLAY/ SKIT. Make your own version of the performance in honor of Goyo that you saw in
the film. What biographical details and achievements of Goyo will you include in your
script?

8. ORGANIZE AN EXHIBIT. Organize and curate your own exhibit on General Gregorio del
Pilar’s life and heroism. You will need help from your teachers and classmates for this
activity. Do not forget to secure the necessary permits from your school’s administrators
before you mount your exhibit.

9. MEME-MAKING. Choose a remarkable line or dialogue from the film. Your meme should
contain a photo of the character/s and the statement that you are quoting. For your
caption, write a short biography of the character/s. Cite your sources. Use the APA citation
format. Students with the most number of shares and re-tweets will get extra points.

10. LETTER-WRITING. Read Carlos Quirino’s interview of Remedios Nable Jose in the
Philippines Free Press (1965). Write your own farewell letter for Remedios.

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SUGGESTED READINGS

Agoncillo, Teodoro A. (1997). Malolos The Crisis of the Republic. Quezon City: University of
the Philippines Press.

Alejandrino, Jose. (1949). The Price of Freedom Episodes and Anecdotes of Our Struggles
for Freedom. Trans. by Atty. Jose Alejandrino. Manila: M. Colcol and Company.

Blount, James H. (1913). The American Occuption of the Philippines, 1898-1912. New York:
Knickerbocker Press.

Calairo, Emmanuel. (2002). Sentiments: General Emilio Aguinaldo’s Response to the

Accusations of the Sublime Paralytic. Cavite: Cavite Historical Society.

Carrasco y Perez, Telesforo. (1986). A Spaniard in Aguinaldo’s Army : The Military Journal of
Telesforo Carrasco y Perez. Metro Manila: Solar Publishing.

Cruz, Isaac Jr. C. (1985). General Gregorio del Pilar: Idol of the Revolution. Bulacan:
Samahang Pangkalinangan ng Bulakan.

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