Summary of Pre colonial period of Philippine Literature

Filipinos often lose sight of the fact that the first period of the Philippine literary history is the longest. Certain events
from the nation’s history had forced lowland Filipinos to begin counting the years of history from 1521, the first time
written records by Westerners referred to the archipelago later to be called “Las islas Filipinas”. However, the discovery
of the “Tabon Man” in a cave in Palawan in 1962, has allowed us to stretch our prehistory as far as 50,000 years back.
The stages of that prehistory show how the early Filipinos grew in control over their environment. Through the
researches and writings about Philippine history, much can be reliably inferred about precolonial Philippine literature
from an analysis of collected oral lore of Filipinos whose ancestors were able to preserve their indigenous culture by
living beyond the reach of Spanish colonial administrators.
The oral literature of the precolonial Filipinos bore the marks of the community. The subject was invariably the common
experience of the people constituting the village-food-gathering, creature and objects of nature, work in the home, field,
forest or sea, caring for children, etc. This is evident in the most common forms of oral literature like the riddle, the
proverbs and the song, which always seem to assume that the audience is familiar with the situations, activities and
objects mentioned in the course of expressing a thought or emotion. The language of oral literature, unless the piece
was part of the cultural heritage of the community like the epic, was the language of daily life. At this phase of literary
development, any member of the community was a potential poet, singer or storyteller as long as he knew the language
and had been attentive to the conventions f the forms.
In settlements along or near the seacoast, a native syllabary was in use before the Spaniards brought over the Roman
alphabet. The syllabary had three vowels (a, i-e, u-o) and 14 consonants (b, d, g, h, k, l, m, n, ng, p, r, s, t, w, and y) but,
curiously enough, had no way of indicating the consonantal ending words. This lends credence to the belief that the
syllabary could not have been used to produce original creative works which would all but be undecipherable when read
by one who had had no previous contact with the text. When the syllabary fell into disuse among the Christianized
Filipinos, much valuable information about precolonial culture that could had been handed down to us was lost. Fewer
and fewer Filipinos kept records of their oral lore, and fewer and fewer could decipher what had been recorded in
earlier times. The perishable materials on which the Filipinos wrote were disintegrate and the missionaries who believed
that indigenous pagan culture was the handicraft of the devil himself destroyed those that remained.
There are two ways by which the uniqueness of indigenous culture survived colonization. First, by resistance to colonial
rule. This was how the Maranaws, the Maguindanaws, and the Tausogs of Mindanao and Igorots, Ifugao, Bontocs and
Kalingas of the Mountain Province were able to preserve the integrity of their ethnic heritage. The Tagbanwas, Tagabilis,
Mangyans, Bagobos, Manuvus, Bilaan, Bukidnons, and Isneg could cling on the traditional way of life because of the
inaccessibility of settlements. It is to these descendants of ancient Filipinos who did not come under the cultural sway of
Western colonizers that we turn when we look for examples of oral lore. Oral lore they have been preserve like epics,
tales, songs, riddles, and proverbs that are now windows to a past with no written records which can be studied.
Ancient Filipinos possessed great wealth of lyric poetry. There were many songs of great variety in lyrics and music as
well as meter. Each mountain tribe and each group of lowland Filipinos had its own. Most of the may be called folksongs
in that there can be traced in them various aspects of the life and customs of the people.
Precolonial poetry were composed of poems composed of different dialects of the islands. The first Spanish settlers
themselves found such poetry, reproduced them, and recorded in their reports and letters to Spain. Although
precolonial poems are distinct from the lyrics of the folksongs the said poems were usually chanted when recited, as is
still the custom of all Asiatic peoples and Pacific Ocean tribes. It is true that many of the precolonial poetry is crude in
ideology and phraseology as we look at it with our present advanced knowledge of what poetry should be. Considering
the fact that early Filipinos never studied literature and never had a chance to study poetry and poetic technique, it is
surprising that their spontaneous poetic expression had some rhythmic pattern in the use of equal syllabic counts for the
lines of stanza, and have definitely uniform rhyming scheme. Spanish missionaries writing grammars and vocabularies
had made good use of these early beginnings of Filipino poetry to illustrate word usage according to the dictionary and
grammatical definitions they had cast.
Thousands of maxims, proverbs, epigrams, and the like have been listed by many different collectors and researchers
from many dialects. Majority of these reclaimed from oblivion com from the Tagalos, Cebuano, and Ilocano dialects. And
the bulk are rhyming couplets with verses of five, six seven, or eight syllables, each line of the couplet having the same
number of syllables. The rhyming practice is still the same as today in the three dialects mentioned. A good number of
the proverbs is conjectured as part of longer poems with stanza divisions, but only the lines expressive of a philosophy
have remained remembered in the oral tradition. Classified with the maxims and proverbs are allegorical stanzas which
abounded in all local literatures. They contain homilies, didactic material, and expressions of homespun philosophy,
making them often quoted by elders and headmen in talking to inferiors. They are rich in similes and metaphors. These
one stanza poems were called Tanaga and consisted usually of four lines with seven syllables, all lines rhyming.
The most appreciated riddles of ancient Philippines are those that are rhymed and having equal number of syllables in
each line, making them classifiable under the early poetry of this country. Riddles were existent in all languages and
dialects of the ancestors of the Filipinos and cover practically all of the experiences of life in these times.
Almost all the important events in the life of the ancient peoples of this country were connected with some religious
observance and the rites and ceremonies always some poetry recited, chanted, or sung. The lyrics of religious songs may
of course be classified as poetry also, although the rhythm and the rhyme may not be the same.
Drama as a literary from had not yet begun to evolve among the early Filipinos. Philippine theater at this stage consisted
largely in its simplest form, of mimetic dances imitating natural cycles and work activities. At its most sophisticated,
theater consisted of religious rituals presided over by a priest or priestess and participated in by the community. The
dances and ritual suggest that indigenous drama had begun to evolve from attempts to control the environment.
Philippine drama would have taken the form of the dance-drama found in other Asian countries.
Prose narratives in prehistoric Philippines consisted largely or myths, hero tales, fables and legends. Their function was
to explain natural phenomena, past events, and contemporary beliefs in order to make the environment less fearsome
by making it more comprehensible and, in more instances, to make idle hours less tedious by filling them with humor
and fantasy. There is a great wealth of mythical and legendary lore that belongs to this period, but preserved mostly by
word of mouth, with few written down by interested parties who happen upon them.
The most significant pieces of oral literature that may safely be presumed to have originated in prehistoric times are folk
epics. Epic poems of great proportions and lengths abounded in all regions of the islands, each tribe usually having at
least one and some tribes possessing traditionally around five or six popular ones with minor epics of unknown number.
Filipinos had a culture that linked them with the Malays in the Southeast Asia, a culture with traces of Indian, Arabic,
and, possibly Chinese influences. Their epics, songs, short poems, tales, dances and rituals gave them a native Asian
perspective which served as a filtering device for the Western culture that the colonizers brought over from Europe.
REFLECTION
Early literature that the Filipinos made, The current generation of the Filipinos would have an idea of how their
ancestors lived, what characteristics of their society are and what values taught by parents to their children in the past
are still being valued today, or what literature and talent whom Filipinos have passed until now to the next generation.
Filipinos can have a picture of the original or indigenous characteristics of Philippine societies.
the Islamic confidence started to spread all through the area, and it soon achieved the Philippines by means of Brunei
and Malaysia. Numerous datus changed over from the old religion of animism to the new religion of Islam. The Islamic
confidence spread as far north as Manila, however a large portion of the proselytes could be found in the southern
islands, and closer to Malaysia.
The bottom line of this reflection is to appreciate what we have now. Because of their works in the past we have useful
things in the present.

THE CONTEMPORARY PERIOD IN THE PHILIPPINES

Michelle Karen Miguel
Updated 19 February 2016
TRANSCRIPT
In 1946- the barangay writers whose aim was to publish works in English by Filipinos was established.
The early post-liberation period was marked by a kind of “struggle of mind and spirit”.
A NEW FILIPINO LITERATURE
Alfredo Navarro Salongga-
a consistent writer of the Philippine Panorama Magazine.
In his column “Post- Prandal Reflections” aptly said it: “darkness in the mind and soul is somehow forgotten poet puts it.
FILIPINO POETRY DURING THE PERIOD OF THE NEW SOCIETY
1. Maynila . . .Sa Kuko ng mga Liwanag
by Edgardo Reyes
Themes of most poems dealt with patience, regard for native culture, customs, and the beauties of
nature and surroundings.
After the Aquino Assassinated, the people’s voices could no longer be contained. Both the public and private sectors in
government were chanting, and shouting, women, men and the youth become bolder and their voices were raised in
dissent.
WRITERS DURING THIS PERIOD
THE REBIRTH
OF
FREEDOM
(1946-1970)
tagalog poetry acquired not only rhyme but substance and meaning.
*HISTORICAL BACKGROUND
THE LITERARY REVOLUTION
Any establishment became the symbol of the ills that had to be changed.
Poets:
*Ponciano Pineda
*Anacieto Silvestre
*Jose Garcia Revelo
*Bienvinido Ramos
ORGANIZATIONS CONTRIBUTED A LOT TO THE DEVELOPMENT OF PLAYS
1. PETA of Cecile Guidote and Lino Brocka
2. Repertory Philippines of Rebecca Godines and Zenaida Amador
Among these were Augusto Victa, Gene Palomo, Mely Tagasa, Lina Pusing, and Ester Chavez.
Popular Television Plays were:
1. Gulong ng Palad
2. Flor de Luna
3. Anna Liza
4. Superman
5. Tarzan
Plays
The government led in reviving old plays and dramas.
In 1977, “The tales of Manuvu”, a new style of the ballet opera was also added to those presentations.
July 4, 1946
The Philippines regained its freedom and the Filipino flag waved joyously alone.
ALEJANDRO ABADILLA
3. Ganito Kami Noon..Paano Kayo Ngayon
led by Christopher de Leon and Gloria Diaz
Its suddenness was so profoundthat we couldn’t react to it any other way”.
The seeds of activism resulted in the declaration of Martial Law in 1972.
M.K.T.M. :)
Novels became common but were still read by the people for recreation.
THE PERIOD OF
ACTIVISM
(1970-1972)
Campus newspapers showed rebellious emotions.
The government took part in reviving old play like Cenaculo, Zarzuela, and Embayokya of the Muslims.
In 1958- the PEN Center of the Philippines was inaugurated.
Almost themes in most writings dealt with the development of the country.
HISTORICAL BACKGROUND
Radio and Television
Radio continued to be patronized during this period. It is one of the recreations this time without television.
However many performing artists in radio moved over the television.
*HISTORICAL BACKGROUND
Most themes in the writings deal with:
1. Japanese brutalities
2. The poverty of life
3. The brave guerrilla exploits
*A yearly Pista ng mga Pelikulang Pilipino (Yearly Filipino) was held during this time.
*During the Festival which lasted usually for a month.
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.
*Writes wrote openly of their criticism against the government.
* Supplications of the people were coached in fiery, colourful, violent, profane, and insulting language.
*According to Pociano Pineda, youth activism in 1970-72 was due to domestic and worldwide causes.
*Some believed that socialism should replace democracy.
Filipino Films
The Americans returned in 1945. Filipinos rejoiced and guerillas who fled to the mountain joined the liberating American
Army.
The frustrations of youth could be felt in churches and school.
Filipino Poetry
*Poems during this period of the Third Republic were romantic and revolutionary.
SALVADOR P. LOPEZ
born in Currimao, Ilocos Norte, was an Ilokano writer, journalist, educator, diplomat, and statesman
*The Period of the New Society started on September 21, 1972.
The Carlos Palanca Award continued to give annual awards.
*HISTORICAL BACKGROUND
POCIANO
PINEDA
Liwayway had been an old time favourite of the Filipinos since 1920. Other magazines were: Kislap at Bulaklak.
Short stories had better characters and events based on facts and realities.
Coritha, Eric and Freedie Aguilar composed a song titled LABAN NG BAYAN KO. Freddie Aguilar revived the song bayan
ko.
Many books were published during this time, among which were:
NOVELS AND
SHORT STORIES
PERIOD OF THE NE W SOCIETY
(1972-1980)
*STATE OF LITERATURE
Leading papers during this period were:
1. Bulletin Today
2. Times Journal
3. Peoples Journal
4. Balita
5. Pilipino Express
6. Phillipine Daily Express
7. Evening Post
*New Kinds of Films without sex or romance started to be made but which nevertheless
well-received by the public.
Among these were:
There was a proliferation of newspapers like:
*Free Press, Morning sun by Sergio Osmeña
*Daily mirror by Joaquin Roces
*Evening news by Ramon Lopezes
*The bulletin by Menzi
Novels and short stories
They held pens and wrote on placards in red paint the equivalent of the word MAKIBATA
TEODORO AGONCILLO
NATIVE AMERICAN LITERATURE
Francisco Arellana published his pen anthology of short story.
*THE SEED OF ACTIVISM
*The Philippines became a new nation and former President Marcos called “The New Republic of the Philippines.
*Senator Benigno S. Aquino Jr., the idol of the Filipino masses, whom they hoped to be next president, was brutally
murdered in August 21, 1983.
2. Minsa’y Isang Gamu-Gamo
by
Nora Aunor was the performer
1. Mga Piling Katha (1947-48) by
Alejandro Abadilla
2. Ang Maikling Kwentong Tagalog (1886-1948) by
Teodoro Agoncillo
*NICK JOAQUIN
Nicomedes Márquez Joaquín was a Filipino writer, historian and journalist, best known for his short stories and novels in
the English language. He also wrote using the pen name Quijano de Manila.
3. Ako’y Isang Tinig (1952) by
Genoveva Edroza Matute
Filipino Songs
Many Composers, grieved over Ninoy Aquino’s treacherous assassination composed songs. They were:
Phillippine Films during this Period:
*The Yearly Festival of Filipino Films continued to be held during this period.
*The people’s love for sex films also was unabated.
3. UP Repertory of Behn Cervantes
4. Teatro Filipino by Rolando Tini
THE THIRD REPUBLIC
Poetry in the Third Republic
During the wake of the tragic Benigno Aquino’s Jr. Incident, people reacted shock, appalled by the suddenness and the
unexpected of events.
Gregorio C. Brillantes,
a Palanca Award Hall of Famer and a multi-awarded fiction writer, is one of the Philippines' most popular writers in
English.
POEMS, SONGS AND FILMS DURING THIS PERIOD
Genoveza Edroza Matute
"Without seeing the Dawn" by Stevan Javellanas
* JOSE F. LACABA
better known as Jose F. Lacaba, is a Filipino poet, journalist, and screenwriter.
Composers:
*Freddie Aguilar
*Jose Marie Chan
*Tito, Vic, and Joeys

Pre-Colonial Times
Pre-colonial inhabitants of our islands showcase a rich past through their folk speeches, folk songs, folk narratives and
indigenous rituals and mimetic dances that affirm our ties with our Southeast Asian neighbors.

The Spanish Colonial Tradition

While it is true that Spain subjugated the Philippines for more mundane reasons, this former European power
contributed much in the shaping and recording of our literature. Religion and institutions that represented European
civilization enriched the languages in the lowlands, introduced theater which we would come to know as komedya,
thesinakulo, the sarswela, the playlets and the drama. Spain also brought to the country, though at a much later time,
liberal ideas and an internationalism that influenced our own Filipino intellectuals and writers for them to understand
the meanings of “liberty and freedom.” Literature in this period may be classified as religious prose and poetry and
secular prose and poetry.

The American Colonial Period

A new set of colonizers brought about new changes in Philippine literature. New literary forms such as free verse [in
poetry], the modern short story and the critical essay were introduced. American influence was deeply entrenched with
the firm establishment of English as the medium of instruction in all schools and with literary modernism that
highlighted the writer’s individuality and cultivated consciousness of craft, sometimes at the expense of social
consciousness.

The Contemporary Period

The flowering of Philippine literature in the various languages continue especially with the appearance of new
publications after the Martial Law years and the resurgence of committed literature in the 1960s and the 1970s.

Filipino writers continue to write poetry, short stories, novellas, novels and essays whether these are socially committed,
gender/ethnic related or are personal in intention or not.

Of course the Filipino writer has become more conscious of his art with the proliferation of writers workshops here and
abroad and the bulk of literature available to him via the mass media including the internet. The various literary awards
such as the Don Carlos Palanca Memorial Awards for Literature, the Philippines Free Press, Philippine Graphic, Home Life
and Panorama literary awards encourage him to compete with his peers and hope that his creative efforts will be
rewarded in the long run.