Lesson Description: This lesson is about a brief history of how Ilocano Literature grows and develops until the

contemporary world. Aside from the brief history of Ilocano Literature, we will talk about the essay and its part
and the representative text from Ilocano Literature, "Yabang": Our curse and undoing By F. Sionil Jose.
Lesson Objectives:
At the end of the lesson, the students are expected to;
a. Analyze the essay "Yabang": Our curse and undoing By F. Sionil Jose;
b. Explain the relationship of context with the text‘s meaning; and
c. Value the contributions of local writers to the development of regional literary traditions.

Brief History of Ilocano Literature

The term “Ilocano” is used to refer to the people living or are native
in the provinces of Ilocos Norte, Ilocos Sur, La Union, and certain
sections of Pangasinan, Tarlac, Cagayan, Isabela, Nueva Viscaya,
and Nueva Ecija. There are also some Ilocanos in Apayao, Kalinga,
Ifugao, and Mountain Province. The entire region is sometimes called
“Ilocandia” or the “Ilocos Region”.
Ilocano literature pertains to the literary works of writers of Ilocano ancestry regardless
of the language used – be it Ilokano, English, Spanish or other foreign and Philippine
languages. Ilocano literature, next to the Tagalog, is believed by scholars to be the richest
and most highly developed in the Philippines. Ilocano literature can be traced back at least
to the early 17th century. There are a large number of religious documents, poems, riddles
(burburcha), proverbs, epic stories, folksongs, and other literary works that belong to this
tradition. Today, there is a sizable body of Ilocano literature, including newspapers and
periodicals like the Bannawag.
Aside from famous folksongs like “Manang Biday”,
“Pamulinawen”, and “Naraniag a Bulan”, the Ilocano literature is
also famous for its rich tank of fiction stories. Some of the most
notable Ilocano fictionists include Manuel Arguilla of La Union
(author of “How My Brother Leon Brought Home a Wife” and
“Morning in Nagrebcan”); Carlos Bulosan of Pangasinan (author
of “America is in the Heart”, “My Father’s Tragedy”, and “Father
Goes to Court”); Amador T. Daguio of Ilocos Norte (author of “A
Wedding Dance”); Francisco Sionil José of Pangasinan (author of
“The God Stealer” and “My Brother, My Executioner”); and Pedro
Bukaneg of Bantay, Ilocos Sur (Father of Ilocano Literature and
the acknowledged author of the “Epic of Biag ni Lam-ang”).
Through the dawn of the 21st century, a new breed of young and
vibrant Ilocano writers has emerged (e.g. Roy V. Aragon, Mighty
C. Rasing, Ariel S. Tabag, among others). The organization of
GUMIL Filipinas (Gunglo dagiti Mannurat nga Ilokano iti Filipinas
or Ilokano Writers Association of the Philippines) also enriched the Ilocano literary
tradition.
GUMIL is one of the most active groups of regional writers in the Philippines. It has
hundreds of active writer-members in provincial and municipal chapters as well as in
overseas chapters in the mainland U.S. and Hawaii and even in Greece. This is a
manifestation that Ilocano literature is not limited to region or geography but transcends
boundaries as more and more diasporic Ilocano writers are emerging in the literary scene
Essay
An essay is a focused piece of writing that develops an argument or narrative based on
evidence, analysis and interpretation.
There are many types of essays you might write as a student. The content and length of
an essay depends on your level, subject of study, and course requirements. However,
most academic essays share the same goal: They aim to persuade readers of a position
or perspective through informed arguments.
To write an essay, there are three main stages:
1. Preparation: Decide on your topic, do your research, and create an essay outline.
2. Writing: Set out your argument in the introduction, develop it with evidence in the
main body, and wrap it up with a conclusion.
3. Revision: Check the content, organization, grammar, spelling, and formatting of
your essay.
In this guide, we walk you through what to include in the introduction, body and conclusion
of an academic essay, using paragraphs from our interactive essay example.

How to write an essay:

1. Introduction of an essay
The introduction is important both to grab the reader’s interest and to inform them of
what will be covered in the essay. The introduction generally comprises 10–20% of the
text. To learn how to write an essay introduction, start by getting familiar with its most
important goals.
1. Hook your reader
The first sentence of the introduction should pique your reader’s interest and curiosity.
This sentence is sometimes called the hook. It might be a question, a quote, a surprising
statistic, or a bold statement emphasizing the relevance of the topic.
Let’s say we’re writing an essay about the development of Braille (the raised-dot reading
and writing system used by visually impaired people).
2. Provide background on your topic
After you have hooked the reader, it is important to give context that will help your reader
understand your argument. This might involve providing background information, giving
an overview of important academic work or debates on the topic, and explaining difficult
terms. Don’t provide too much detail in the introduction – you can elaborate in the body
of your essay.
3. Present the thesis statement
Next, you should formulate your thesis statement – the central argument you’re going to
make. The thesis statement provides focus and signals your position on the topic. It is
usually one or two sentences long. An example of a thesis statement from an essay on
Braille could look like this:
2. Body of an essay
The body of your essay is where you make arguments supporting your thesis, provide
evidence, and develop your ideas. Its purpose is to present, interpret and analyze the
information and sources you have gathered to support your argument.
1. Length of the body text
The length of the body depends on the type of essay. On average, the body comprises
60–80% of your essay. For a high school essay, this could be just three paragraphs, but
for a graduate school essay of 6,000 words, the body could take up 8–10 pages.
 2. Paragraph structure
To give your essay a clear structure, it is important to make use of paragraphs. Each
paragraph should be centered around just one argument or idea. The purpose of each
paragraph is introduced using topic sentences. The topic sentence forms a transition from
the previous paragraph and introduces the argument to be made in this paragraph.
Transition words can be used to create clear connections between sentences. After the
topic sentence, present evidence by providing the reader with data, examples or quotes.
Be sure to interpret and explain the evidence, and show how it helps develop your overall
argument.
3. Conclusion of an essay
The conclusion is the final paragraph of an essay. It should generally take up no more
than 10–15% of the text. A strong essay conclusion:
 Draws connections between the points made in the essay’s body
 States the overall outcome of your arguments – what new insight have you
provided?
 Emphasizes the relevance and significance of your thesis statement
A great conclusion should finish with a memorable or impactful sentence that leaves the
reader with a strong final impression.
What not to include in a conclusion
To make your essay’s conclusion as strong as possible, there are a few things you should
avoid including. The most common mistakes are:
 Including new arguments or evidence
 Undermining your arguments (e.g. “This is just one approach of many”)
 Using concluding phrases like “To sum up…” or “In conclusion…”

About F. Sionil Jose

Francisco Sionil José’s novels, short stories and
non-fiction works highlight the social
underpinnings, class struggles and colonial history
of Filipino society. He is best known for his epic
work, The Rosales Saga – five novels
encompassing a hundred years of Philippine history,
painting a vivid documentary of Filipino life.

Since starting his writing career in 1949, José has

written more than 35 books, translated into more
than 20 languages and published worldwide. He has also been involved with international
cultural organizations, notably International P.E.N., the world association of poets, playwrights,
essayists and novelists, whose Philippine Center he founded in 1958.

José has worked as a journalist, and has founded a bookshop, publishing house and art gallery.
In 1966, he established Solidarity, a monthly magazine of “current affairs, ideas and the arts,”
whose contributors included Southeast Asia’s leading writers, poets, statesmen, scholars and
political activists.

According to Prof. Edwin Thumboo of the National University of Singapore, “Ever the
visionary, Frankie saw Southeast Asia as a region well ahead of the politicians, political
scientists and economists. Solidarity did more to advance the understanding of Southeast Asia
and the sense of it as a region, than any other journal.”

Recognitions of José’s literary works and his influence on the Philippines and Asia include the
Ramon Magsaysay Award for Journalism, Literature and Creative Arts (1980), Philippine
National Artist (2001), and the Pablo Neruda Centennial Award (2004), and Officer in the
French Order of Arts and Letters (2014). Now in his nineties, he continues to be a prolific
writer and relentless voice against social injustice and national amnesia. Almost daily, he still
climbs the three flights of steps to his writing alcove at the Solidaridad Bookshop in Manila.

'Yabang': Our curse and undoing By F. Sionil Jose

Yabang — boasting or showing off — is almost second nature to us. In any conversation, the
Filipino suddenly pauses, declares, ―Modesty aside then relates his journey to the top, his
awards.
Here now is a caveat to all true believers of whatever institution, ideology and faith. Be not
excessively proud of your mansions, your hoard of gold and mega power. Remember always
that pride is followed by the fall (Book of Proverbs, 16:18).
Of course, we are all egoists. Egoism is so much a part of our humanity.
The ancient Greeks had a word for it: hubris. Writers particularly are not immune to it — in fact,
with it, they flourish because from their very lives, they extract memory and give it precious
form as poetry or prose.
It is yabang that makes Filipino males manicure their fingernails, splurge on elegant wardrobes
and fancy cars and watches, the same way that Imelda and women with royal pretensions stretch
their aging skins and festoon themselves with expensive baubles, including thousands of shoes.
It is also yabang when Corazon Aquino declared at the beginning of her presidency in 1986 that
she wouldn‘t welcome unsolicited advice.
Yabang again when her son, the president, said he would ignore his critics.
Listen, our historians who do not probe deeply into the character of those who shaped our history
should cerebrate the way Nick Joaquin did with his A Question of Heroes. Not that Nick was
absolutely correct but by raking into the egos of our heroes, he initiated an insightful way of
how to interpret our past.
The revolution of 1896 was subverted by the pompous egos, the rivalry of its leaders,
particularly Aguinaldo. Divided and disaffected, they were easily cozened into impotence by
Spanish bribery in the Pact of Biak-na-Bato. The Huk uprising in 1949-1953 was defeated not
so much by Ramon Magsaysay and an invigorated Army; it was destroyed by the quarrels among
its leaders, conflicts inflamed by conceit more than differences in tactics and ideology.
And again, the defeat of the New People‘s Army was made inevitable by the vaulting egos of
its leaders and most of all, by the tremendous but crippling self-esteem of its founder, Jose Maria
Sison.
So it is with our political parties; they splinter soon enough into factions or new parties. This
divisiveness argues perhaps for a parliamentary system. It also illustrates clearly what prevents
our people from uniting.
Professional societies are sooner or later fractured by the ego of their leaders. Everyone wants to be president,
chairman, CEO; no one wants to be a mere follower. Now we are praying for a messiah to descend from
upstairs and deliver us from this despicable chaos. But everyone wants to be that messiah. We all know of
General Angelo Reyes‘ suicide a few years back. That was egoism, too, albeit with the nobility of the brave
and conscientious. He had declared that he did not start the corruption in the Armed Forces but that he couldn‘t
stop it. How could he when the highest official of the land was corrupt?
Men, he told me, ―have specific roles in life. Knowing he couldn‘t fulfill it, the end he chose for himself was
the most honorable. How many of our leaders can act like he did?
So then, we must know our own roles. We should also know the roles that others play, and the rules such roles
follow. In this manner, social harmony is maintained. It is when we overstep our roles, or act without knowing
them, that social anarchy ensues.
The Japanese adhere solemnly to their roles. I was invited to a seminar in the Eighties by the Japan Foreign
Office (Gaimusho). It was a small seminar with only about a dozen of us from Asia. At its conclusion we were
invited to visit Kyoto to see a portion of the Imperial Palace that was closed to the public but opened only for
us. About a dozen officials from the Foreign Office went with us. When we arrived in Kyoto, the guard was
shown the list of those who could enter the premises. He allowed only us participants — the Gaimusho VIPs
and former ambassadors meekly followed the guard‘s orders; they did not pull rank or intimidate him.
Now here comes the Mayor of Makati and that imbroglio with the Dasmariñas Village security guards. He
should have understood their role as well as his. As mayor, was there an emergency or something truly urgent
that required him to undermine the role of the guards? And so today, although the 2016 elections are still so
far away, the mayor‘s father, Vice President Jejomar Binay, is already the object of negative speculation: Will
he be like his son? Will the Binays who are already in seats of power be mayabang, too?Abangan!
All dictators, the rich and famous, to the lowest security guard who holds a gun, easily forget that power is
transitory. Death, the great leveler, tells us we cannot take anything with us — not the proud mansions and
giant coliseums we build, least of all a single medal. How was it in ancient Rome? When Caesar was paraded
before cheering Romans, a man walking behind him chanted: ―Remember, you are mortal!
How wonderful it would be if our bloated politicians listened to a broken record reminding them they are just
plain water absurdly reducible into a bar of laundry soap.
Why do you think so many insignificant blogs and Facebook entries muddle the Internet? Why do our
newspapers devote a lot of their pages to our social butterflies?
A hyper ego can easily morph into narcissism, and in its crudest form as celebration of the self, it actually
becomes a form of masturbation that, in its escalating practice, drains the body of its creative juices. An
example of this corroding narcissism is the poet Jose Garcia Villa. By the time he was 50, he was artistically
dead, unable to produce anything creative and original.
To avoid this kind of self-destruct, the self must be tamed, channeled into enterprises that transcend the
individual‘s aspirations, his ego. It can be used not for just his glorification but for ennobling others, a
community, a nation, or humanity as a whole. In the end, the egoist must be able to sacrifice, to give himself
to others. The best example of this kind of egoism is no other than Jose Rizal. To emulate him we can escape
the narrow compass of our own character. Indeed, writers are not excluded in the ―selfie addiction. But if
writers know their roles, they will write better, think more deeply, because they will then be driven by a sense
of inferiority, not so much because the greatest writers are looking over their shoulders, but because as artists,
they can never compete with the Creator.
This profound humility is expressed by traditional Asian artists; they purposely dent a beautiful pot, or make
slight errors in the composition of their paintings, their carvings, calligraphy, as a form of homage to the
Almighty.
Please do not accuse me of yabang, too. Physical necessity demands I must now wear a beret. Since I lost my
hair, I easily catch cold when the temperature drops. The beret is also convenient. In normal weather, I just
tuck it in my pocket. As for my cane, way back when I fell on my face and dislocated an elbow, my doctor,
Vince Gomez, told me to walk always with one.
All of us nurture dreams, some of which are modest, some reach for the stars. An inner humility should inform
us then that as earthlings created in God‘s image, we are insignificant specks of dust in the infinite vastness
of the universe.
I am now too old and addicted to comfort and therefore incapable of epic heroism and sacrifice. But I still like
to think that when it comes to humility, I am number one.
 21st Century Literature from the Philippines and the World

NAME: ______________________________________________ YEAR & SECTION: ____________________

Exercise

Answer the following questions from the essay "Yabang"What is the story about?

1. Define mayabang‘. When is someone mayabang?

2. What does this article say about our Philippine history?
3. Do you agree with the point of view of the author about the yabang that Filipinos have?
4. Can you identify the writing style used in this essay?
5. Give supporting details or examples of the writing style used from the article.
6. Can you identify the theme or the idea that the author wants to tell his readers about life?

Output (Week 5)

Can you identify the parts of the essay from the article above? Summarize the parts of the essay and write your
answers on the columns provided. Use only one example for the body paragraph. ('Yabang': Our curse and
undoing By F. Sionil Jose)

Introduction Body Conclusion

Quiz

True or False.

____________________1. The Ilocos region is sometimes called “Ilocandia”.

____________________2. In Ilocano Literature, GUMIL is one of the most active groups of regional
writers in the Philippines.
____________________3. An essay is a focused piece of writing that develops an argument or
narrative based on evidence, analysis and interpretation.
____________________4. There are three stages in writing an essay: preparation, writing, and
revision.
____________________5. The introductory paragraph accomplishes three purposes: it captures the
reader‘s interest, it suggests the importance of the essay‘s topic, and it ends with a thesis sentence
____________________6. The conclusion is the final paragraph of an essay.
____________________7. The introduction of your essay is where you make arguments supporting
your thesis, provide evidence, and develop your ideas.
____________________8. Ian Rosales Casocot. was declared a National Artist for Literature in 2001
and has been called a Philippine national treasure.
____________________9. 'Yabang': Our curse and undoing is written by F. Sionil Jose
____________________10. A great conclusion should finish with a memorable or impactful sentence
that leaves the reader with a strong final impression.