SUBJECT: P H I L I P P I N E L I T E R A T U R E
COVERAGE:
• BAGYONG OGIS
• PAMALAYE NILANG JUAN-MARING
• THE DAY THE DANCERS CAME
• JAUTAN JAUJALI
• HOW THE WORLD WAS MADE
• 12 FILIPINO VALUES
BAGYONG OGIS
by: Raffi Banzuela
(Region 5- Bicol)
The White Storm by Raffi Banzuela
Highlighted Terms:
• marurugi- The species Bambusa is known by the
common name Marurugi inBicolano, central.
• kabisera- capital-Sibib-sibid- not sure if it means Little
Canoe-Paraw- are various double outrigger sail boats in
the Philippines
• Bagyong ogis - a term used by the elders for strong raging
storms where its windsare visible to the eye
• Amihan - Wind that blows from the north
• Habagat - The wind that blows from the south
• Kanaway - Wind blowing from west
• Talisay Trees - A tropical almond tree
• Biga Plant- Also known as Giant elephant ear which is a
species of flowering plant inthe arum family that it is
native to rainforests of Island Southeast Asia
• Nipa Shingle- roofing materials made from the fronds of
nipa palm (Nypa fruticans)
• Parasangtigwaris- a witch doctor. But that’s the term the
Bicol people call them. It’smore of a locally used term
Characters:
• Dinio - Narrator; the ward of Maestring Cuing
• Maestring Cuing - Father of 4 children: 2 boys 2 girls;
Teacher-in-charge; Lived inManila for 2 years
• Tia Puring - Wife of Maestro; classroom teacher in the
barrio-Rosita
• the cousin
• Kumpadre (Tata) Pedring - known to spread word
efficiently
• Olive - the Named typhoon
• Apay Father - sick cause he messed with a bad fairy and
is being taken cared of by the mother
• Ven - youngest child of maestro
Setting:
- It was a rainy day when Dinio woke up in Maestro’s house
located in a Barrio within Manila near a shore. It was
before the day meets the night when it was noticed by
Maestro that there’s an incoming storm named “Olive”-
When twilight hits, the storm came, causing the rain to
poured harder, wind grew stronger, and waves became
bigger-Located in Barrio Manila-1st house is a makeshift
structure; main house located in Legazpi city
Plot:
- Setted in Maestro’s house located in a Barrio within
Manila near a shore, the story revolves around Dinio and
Maestro’s preparation for the incoming typhoon named
Olive. Throughout the preparation we are introduced to
several minor characters such as Kumpadre (Tata)
Pedring, Tia Puring, Rosita, and Ven
Conflict:
- The typhoon Olive durr; Man VS NatureTheme:-Courage
and Growth-The growth shown in Maestro from his
experience facing typhoon Trix reflected untoDinio when
faced with typhoon Olive.Moral Value/Lessons:-With
experience comes growth and knowledge.
PAMALAYE NILANG JUAN-MARING
by: : Mario L. Quezon
Summary:
- After several months of preparing all they needed, Juan
and his wife Maring immediately left for a barrio in
Zamboanga del Sur. The preparation was quite
extravagant and they had saved for it for few months and
they were not hesitant in spending Jimmy, the only
unmarried child out of eight children. Jimmy went to the
mountains of Bukidnon and there he met Perlita. She is
in her thirties. She is an old maid teacher and she looks
older than Jimmy. Jimmy was matched with Perlita until
they agree to get married. Juan and Maring were very
happy, so when Jimmy said he was going to marry, Juan
and Maring immediately prepared for it.
Characters:
• Juan- husband of Maring and Father of Jimmy
• Maring- the mother of 8 children including Jimmy and
wife of Juan
o They both have 8 children, 4 are professionals,
and 20 grandchildren
• Jimmy- the only unmarried child of Juan and Maring. A
palin farmer
• Perlita- Jimmy’s fiance. A teacher. Daughterof Isko and
Eva
SUBJECT: P H I L I P P I N E L I T E R A T U R E

• Isko- father of Perlita • Chicago, USA

• Eva- mother of Perlita o It is set in the United States of America where
• Temyo- cousin of Jimmy who delivered the speech during THE DAY THE DANCERS CAME Filipinos play the principal characters in order to
the proposal by: Bienvenido N. Santos show contrasting cultures.
• Siblings:
Plot:
o Jimmy’s siblings (names weren’t mentioned): - This classic of Filipino literature by Bienvenido Santos is
▪ Domestic helper in Saudi about an aging expatriate who feels cut off from his • Exposition:
▪ Operates a ballmill in Lalab culture. After years of menial work in the United States, o When Fil knew that a group of dancers from the
▪ Jeepney driver in Manila the protagonist has no remaining Filipino family and only Philippines will arrive
o Perlita’s siblings (names weren’t mentioned): one local, possibly terminally ill, Filipino friend. Rather • Rising Action:
▪ Education graduate naïvely, he decides to approach and offer to host to a o Fil wanted to invite the dancers to their
▪ Commerce graduate group of visiting tinikling dancers. He is ignored, but apartment to have some quality time with other
▪ Married to a principal in Davao makes an audio recording of their performance to Filipino.
▪ Engaged in copra trading remember them by. In the depressing denouement, he
Climax:
▪ Teacher in Dumalinao faces the grim reality of losing them all.
▪ Drowned in the M/V Cassandra tragedy - Themes: nostalgia, connection with one’s roots, aging, - Fil went to the hotel where the dancers are. He invited
alienation, migration, homesickness the dancers but none of them wants to go with him,
Settings:
- The story is a portrayal of a Filipino immigrant where Fil other dancers didn’t even talk to him.
- Barrio in Zamboanga Del Sur Acayan, the protagonist, longs for his native land and by
Falling Action:
- Perlita's house was just near the road, the frontyard was feeding his desire becomes excited when Filipino dancers
planted with ornamental plants. The road was narrow is performing in Hamilton. The mere thought that they - He went back to their apartment and recorded the
and the place has no electric connection. are Filipinos satisfies him. The common desire of longing performance of the dancers.
- In the story they rented kin's vehicle for transportation. for one’s hometown among Filipino immigrants no
Jimmy brought with them food containers, cases of matter how desperate it may seem (like Fil’s desperation
beverages and a pig more than 1000 kgs and 10 native to be friends with Filipino dancers who perform in their Denouement:
chickens. nearby place) reflets the typical Filipino immigrant’s
value for his native land. - He accidentally erased the recordings.
Places mentioned in the story:
Characters: Theme:
- Oroquita
- Bohol • Filemon Acayan- a fifty year old Filipino, U.S. Citizen, - It symbolizes his awakening up to the reality that even
- Cagayan de Oro corporal in the US army. though he plays the recorded sounds to reminisce
- Zamboanga del Sur • Tony-Antonio Bataller-Fil’s friend, a retired pullman moments, present time would always be the superior.
porter Time and memory are villains indeed.
What was asked for the wedding:
• Filipino Dancers
- Payment for the wedding registration
Settings:
SUBJECT: P H I L I P P I N E L I T E R A T U R E
JAUTAN JAUJALI
by: Piyangawaan Yausop Asanji
Characters:
• Jautan Jaujali- the farmer who was accused of stealing a
carabao
• Couple-accused Jautan Jaujali of stealing their carabao
• Sultan
• Mother of Sultan
DR. VIRGILIO ENRIQUEZ
HOW THE WORLD WAS MADE
by: John Maurice Miller
Characters:
• God Maguayan-parent of Lidagat
• God Captan-ruled the sky
• Lidagat-the sea, daughter of Maguayan, married to
Lihangin
• Lihangin-the wind, son of Captan, married to Lidagat
• Licalibutan-eldest son of Lidagat and Lihangin, had a
body of a rock, strong and brave, was left to have the
control of the winds after their mother died, started the
attack against his gradnparents
• Liadlao- son of Lidagat and Lihangin, was formed gold
and was always happy
• Libulan- son of Lidagat and Lihangin, was made of copper
and was weak and timid
• Lisuga-daughter of Lidagat and Lihangin, had a body of
pure silver and was sweet and gentle
• Sicalac-human from the bamboo, man’s name
• Sicabay-human from the bamboo, woman’s name
• Libo-name of the first son of the first human race
• Saman-daughter of the humans, Sicalac and Sicabay
• Panagduan-the younger son, was very clever and
invented a trap to catch fish
• Arion-son of Panagduan
12 FILIPINO VALUES
DR. VIRGILIO ENRIQUEZ
• (Father of Filipino Psychology)
• also known as Doc E
• born on November 24, 1942 at Santol, Balagtas formally
Bigaa, Bulacan.
• was the youngest of 5 children to Arsenio Libiran
Enriquez and Rosario Galvez Gaspar.
• He is the founder of the Pambansang Samahan sa
Sikolohiyang Pilipino, (corporate name: National
Association for Sikolohiyang Pilipino, Inc.).
• Enriquez finished his elementary education at the
Espiritu Santo Parochial School and his secondary
schooling at Colegio de San Juan de Letran. He earned
his B.A. in Philosophy at the University of the Philippines
(UP) in 1961. Two years later, he joined the UP
Department of Psychology as a faculty member. In 1965,
Enriquez was among the few academics teaching
Psychology in the Filipino language. He took graduate
studies at Northwestern University in the United States,
where he obtained his M.A. in Psychology in 1970 and
Ph.D. in Social Psychology in 1971.
• In pursuit of a better understanding of indigenous Filipino
values, human interaction was observed in everyday life
and as codified in the language.
• To him, the core concept of Filipino interpersonal
behavior is ‘kapwa’ (shared inner self, which is the unity
of the “self” and “tohers”). While kapwa is a concept of
shared or collective identity. It is also about how
interpersonal relationships function and are maintained
within this collective identity. It is about emphasizing the
community over the individual.
12 FILIPINO VALUES
1. HIYA
a. Loosely translated as ‘shame’ by most Western
psychologist, it is actually ‘Sense of propriety’
b. English: shame, embarrassing
c. Uncomfortable feeling that accompanies
awareness of being in a socially unacceptable
position or unacceptable action.
d. Placed in awkward position.
e. Embarrassment.
f. Sense of propriety.
g. Has a sense of decorum
h. Naa kay pamatasan
i. Was translated as shame by the americans, but is
wrong
j. Hiya. Sibley (1965), an American scholar,
translated hiya as ‘‘shame’’. Another American,
Lynch (1961) saw hiya as ‘‘the uncomfortable
feeling that accompanies awareness of being in a
socially unacceptable position, or performing a
socially unacceptable action.’’ For example,
when an employee is scolded in front of other
people. To add to the negativity of this
interpretation of hiya, Andres (1994) described
hiya as ‘‘an ingredient in why Filipinos overspend
during fiestas in order to please their visitors,
even to the extent of going into debt’’ (p. 64).
SUBJECT: P H I L I P P I N E L I T E R A T U R E
This conventional interpretation of hiya is
inadequate because it does not take into account
the importance of understanding how affixations
in Philippine languages can give a new meaning
to a word. Bonifacio (1976) alerted us to the
different meanings of the word hiya depending
on its form – nakakahiya (embarrassing),
napahiya (placed in an awkward position),
ikinahiya (be embarrassed with someone), etc.
With some affixes, it becomes negative, e.g.,
napahiya; with others, positive, e.g., mahiyain
(shy); and in still other forms, it can either be
positive or negative depending on the context,
e.g., kahihiyan (sense of propriety, or
embarrassment). Salazar (1981, 1985b)
expounded on affixation and hiya and showed
the internal and external aspects of hiya.
Evidently, it is the external aspect which foreign
scholars have captured. After all is said and done,
the more appropriate translation of hiya in
English is not ‘‘shame’’ but ‘‘sense of propriety’’.
2. UTANG NA LOOB
a. Norm of reciprocity. Filipinos are expected by
their neighbors to return favors—whether these
were asked for or not—when it is needed or
wanted.
b. English: debt of gratitude, gratitude and
reciprocity, solidarity, repayment
c. The principle of reciprocity is incurred when an
individual helps another. The person helped
then feels an obligation to repay the debt in the
future when the helper himself is in need of aid
or he may repay his debt by sending gifts. It is
often not clear when a debt has been fully paid,
so the relationship becomes an ongoing one.
d. The recipient of the favor is forced to show their
gratitude properly by returning the favor with
interest.
e. Utang na loob. Utang na loob was translated by
Kaut (1961) as ‘‘debt of gratitude’’. Andres (1994,
pp. 190–191) defined it, following Kaut’s logic, as
‘‘the principle of reciprocity incurred when an
individual helps another. The person helped then
feels an obligation to repay the debt in the future
when the helper himself (sic) is in need of aid, or
he (sic) may repay his debt by sending gifts. It is
often not clear when a debt has been fully paid,
so that the relationship becomes an ongoing
one.’’ Hollnsteiner (1961) took this interpretation
further by claiming that the recipient of the favor
is forced ‘‘to show his (sic) gratitude properly by
returning the favor with interest.’’ Enriquez
(1977) dared to speculate that there is an
element of wanting to promote reciprocity which
is useful for maintaining the image of the
colonizer as benefactor. But looking at utang na
loob more closely in the context of Filipino
culture, it actually means ‘‘gratitude/solidarity’’.
It is not necessarily a burden as the word ‘‘debt’’
connotes, because in the Filipino pattern of
interpersonal relations, there is always an
opportunity to return a favor. It is not absolutely
obligatory in the immediate future, for the
opportunity to show utang na loob might come
only in the next generation, maybe not in your
lifetime. Your children will see to it that it is
recognized and respected. It is a beautiful
element of Filipino interpersonal relationships
that binds a person to his or her home
community or home country. In fact, this is
expressed in a popular Filipino saying, ‘‘Ang hindi
lumingon sa pinanggalingan ay hindi
makakarating sa paroroonan. (Those who do not
look back to where they came from will not reach
their destination)’’. Utang na loob is a calling
heard by many Filipinos who go to other lands
but who still retain strong ties with their
homeland.
3. BAHALA NA
a. This attitude loosely translated into English as
‘fatalistic passiveness’, actually describes the
filipino way of life, in which, he is determined to
do his best hence the term bahala na, which
actually came from the phrase ‘bathalan na’,
meaning ‘I will do all my best, let God take care
of the rest’.
b. English: come what may
c. A Filipino way of expressing a fatalistic attitude
towards life.
d. A way of taking risks under uncertainties.
e. Leaving things to fate.
f. Determination in the face of uncertainty.
g. Bahala Na. The Filipino cultural value of bahala
na has no exact English translation. Bostrom
(1968) was the first psychologist to analyze this
value by comparing it with American fatalism.
This is obviously a pervasive interpretation that
when Thomas Andres published the Dictionary of
Filipino Culture and Values, he still defines bahala
na as ‘‘the Filipino attitude that makes him
accept sufferings and problems, leaving
everything to God. ‘Bahala na ang Diyos (God will
take care of us)’ . . . This attitude is a fatalistic
resignation or withdrawal from an engagement
or crisis or a shirking from personal
responsibility’’ (Andres, 1994, p. 12). The
Sikolohiyang Pilipino perspective interprets
SUBJECT: P H I L I P P I N E L I T E R A T U R E
bahala na differently. Lagmay (1977) explained
that bahala na is not ‘‘fatalism’’ but
‘‘determination and risk-taking’’. When Filipinos
utter the expression ‘‘Bahala na!’’ they are not
leaving their fate to God and remaining passive.
Rather, they are telling themselves that they are
ready to face the difficult situation before them,
and will do their best to achieve their objectives.
The expression is a way of pumping courage into
their system so that they do not buckle down. In
fact, even before they have said ‘‘Bahala na!’’
they have probably done their best to prepare for
the forthcoming situation.
4. PAKIKISAMA
a. Smooth Interpersonal relationship, or SIR, as
coined by Lynch (1961 and 1973). This attitude is
primarily guided by conformity with majority.
b. English: harmonious relationships, getting
along with others, conformity
c. This value emphasizes the importance of
maintaining harmony and avoiding conflict in
social interactions.
d. Entails a genuine intrinsic appreciation of
togetherness.
e. Group harmony and unity is valued.
f. Pakikisama vs. pakikipagkapwa. Pakikisama was
identified by Lynch (1961, 1973) as a Filipino
value, giving it the English translation of
maintaining ‘‘smooth interpersonal relations’’ by
going along with the group or the majority
decision, i.e., conformity. Enriquez (1978, 1994)
started unfolding the concept of kapwa (shared
identity), which is at the core of Filipino social
psychology, and which is at the heart of the
structure of Filipino values. He discovered that it
is not maintaining smooth interpersonal
relationships that Filipinos are most concerned
with, but pakikipagkapwa which means treating
the other person as kapwa or fellow human
being. There are two categories of kapwa: the
Ibang-Tao (outsider) and the Hindi-Ibang-Tao
(‘‘one-of-us’’). In Filipino social interaction, one is
immediately ‘‘placed’’ into one of these two
categories; and how one is placed determines
the level of interaction one is shown. For
example, if one is regarded as ibang-tao, the
interaction can range from pakikitungo
(transaction/civility with), to pakikisalamuha
(interaction with), to pakikilahok
(joining/participating), to pakikibagay (in-
conformity with/inaccord with), and to
pakikisama (being along with). If one is
categorized as hindi-ibang-tao, then you can
expect pakikipagpalagayang-loob (being in-
rapport/understanding/ acceptance with), or
pakikisangkot (getting involved), or the highest
level of pakikiisa (being one with). Using the
Sikolohiyang Pilipino perspective, Enriquez
(1992) re-conceptualized the Filipino behaviour
patterns and value structure where he
designated hiya(‘‘propriety/ dignity’’), utang na
loob (‘‘gratitude/solidarity’’) and pakikisama
(‘‘companionship/ esteem’’) as
colonial/accommodative surface values; and
bahala na (‘‘determination’’), sama/lakas ng loob
(‘‘resentment/guts’’) and pakikibaka
(‘‘resistance’’) as confrontative surface values.
He emphasized kapwa (‘‘shared identity’’) as
core value; pakikiramdam (‘‘shared inner
perception’’) as pivotal interpersonal value; and
kagandahang-loob (‘‘shared humanity’’) as
linking socio-personal value. Associated with the
above are societal values such as karangalan
(‘‘dignity’’), katarungan (‘‘justice’’), and kalayaan
(‘‘freedom’’). Thus, the area of Filipino
personality developed as a strong area using the
Sikolohiyang Pilipino perspective. The Filipino is a
blend of East and West. The Western influence
can be seen more in external ways – dressing,
liking for hamburger and other food, Western
music and dance, etc. However, the internal
aspect, which is at the core of his pagkatao
(personality), is Asian – deference for authority,
modesty/humility, concern for others, etc.
5. KARANGALAN
a. English: honor, dignity
b. Refers to what other people see in a person and
how they use that information to make a stand
or judge about his/her worth.
c. Honor from within, knowledge of true worth,
character, achievement, success.
6. KATARUNGAN
a. Loosely translated to justice, this actually refers
to equity in giving rewards to a person.
b. English: justice
c. Refers to equity in giving rewards to a person.
7. KALAYAAN
a. Freedom and mobility. Ironically, this may clash
with the less important value of pakikisama or
pikikibagay (conformity)
b. English: freedom, mobility, independence
c. A result to exercising one’s rights.
d. Freedom of will and it is opposed to
determinism.
e. Political freedom is a social and political
freedom that everyone enjoys. In theology, it is
freedom from the fall of sin.
8. PAKIKIRAMDAM
SUBJECT: P H I L I P P I N E L I T E R A T U R E
a. Shared inner perceptions. Filipinos use
damdam, or inner perception of others’
emotions, as a basic tool to guide his dealings
with other people. It characterizes filipino
emtion, Enriquez name this emotional quality
“shared perception”.
b. English: request to feel or be sensitive to
c. Feeling for another, great care, and
deliberation.
d. It is the indirect pattern of communication of
Filipinos like expressive body language, voice
intonations that say more than words
themselves.
e. Another aspect of Filipino personality that was
given attention by the Sikolohiyang Pilipino
perspective is the propensity for indirect
communication. Part of our socialization is being
sensitive to non-verbal cues, having concern for
the feelings of others, being truthful but not at
the expense of hurting others’ feelings. This has
made the sharpening of pakikiramdam (shared
inner perception) a particularly desirable skill in
many situations involving Filipino social
interaction. Pakikiramdam is a request to feel or
to be sensitive to. It is a shared feeling, a kind of
‘‘emotional a priori’’. There is ‘‘hesitation to
react, attention to subtle cues, and non-verbal
behavior in mental role-playing (if I were in the
other’s situation, how would I feel)’’. In other
words, it is ‘‘feeling for another’’, exercising great
care and deliberation (Mataragnon, 1987).
Pakikiramdam is especially useful in conducting
research in the rural areas. Filipinos find it
difficult to refuse when asked directly to
participate in an interview or survey. But if you
have pakikiramdam, you can tell from their body
language or the tone of their voice that the
participation they will show is ‘‘half-baked’’, thus
not valid. If you have taken the time to
understand their cultural ways, you will know
that it is very important to spend time
establishing rapport, letting them ‘‘interview’’
you first so they would feel comfortable enough
to disclose their opinions, knowledge and
experiences to you. The indirect pattern of
communication of Filipinos has thus resulted in
indirectness or euphemisms in verbal exchange,
expressive body language, voice intonations that
say more than the words themselves, and other
similar behaviors. Among Filipinos, these are a
matter of fact, taken for granted, because they
are what they are born into and grow up with. It
is only when these behaviors come in conflict
with Western ways that the Filipino gives them a
second thought. In reality, the foreigner or the
Westernized Filipino is impatient with this mode
of communication, and questions the usefulness
of this cultural way. The indirectness, for
example, not saying ‘‘no’’ outright, has often
been misinterpreted to mean untruthfulness,
dishonesty or hypocrisy. To the Filipinos, they are
being frank about their feelings, but they just do
not express this verbally. It thus poses as a great
challenge for non-Filipinos to ‘‘read’’ these
messages communicated indirectly, or rather,
non-verbally
9. PURI & DANGAL (wala ni sa ppt ni maam)sorrryy sayop
koo…
a. Puri-the external aspect of dignity, may refer to
how other people judge a person of his/her
worth.
b. Dangal-the internal aspect of dignity. May refer
to how a person judges his own worth.
c. Salazar (1985b), through his analysis of
indigenous history and culture of the Filipinos,
points out the internality-externality component
in the Filipino personality. The Filipino language
has two words for the English word ‘‘honor’’: puri
and dangal. Puri refers to honor which is physical,
such as that bestowed through compliments or
applauses for a good performance, thus external.
It can also refer to virginity which is a virtue
expected of unmarried Filipino women. Dangal is
honor from within – knowledge of one’s true
worth, character, achievement and success. It
can be acknowledged through an award or a
tribute (parangal, which is actually pa-dangal)
but even without such gestures from outside, it
is within you. Thus, a poor person who is a kind
and honest person and respects the dignity of
hard work has a lot of dangal. A woman who was
raped is not stripped of her dangal even though
her puri was taken away. Other examples of
internality-externality includes saya and ligaya
for the English word ‘‘happiness’’; pigil and timpi
for ‘‘control’’; and dama and damdam for ‘‘feel’’.
This is not to say that this internal-external
dimension is unique to the Filipinos, but this is
something researchers should be conscious of
when trying to understand the Filipino
personality.
10. LAKAS NG LOOB
a. This attitude is characterized by being
courageous in the midst of problems and
uncertainties.
b. English: courage and bravery, nerve, boldness,
gutsiness
SUBJECT: P H I L I P P I N E L I T E R A T U R E

c. This attitude is characterized by being

courageous in the midst of problems and
uncertainties.
11. PAKIKIBAKA
a. Literally in English, it means concurrent clashes.
It refers to the ability of the Filipino to
undertake revolutions and uprisings against a
common enemy.
b. English: struggle, battle, concurrent clashes
c. It refers to the ability of the Filipino to
undertake revolutions and uprisings against a
common enemy or a particular struggle in one’s
life.
12. KAGANDAHANG-LOOB
a. Share humanity. This refers to being able to help
other people in dire need due to a perception of
being together as part of one Filipino humanity.
b. English: shared humanity
c. This refers to being able to help other people in
dire need due to a perception of being together
as a part of one Filipino humanity.
13. PAKIKIPAGKAPWA
a. English: smooth interpersonal relationship
b. Treating the other person as “kapwa” or fellow
human being.
c. This attitude is primarily guided by conformity
with the majority.