Regional Literature

Intended Learning Outcome:

Recognize the contribution of local writers to the development of
regional literary traditions.
 Tagalog literature

 The literary tradition in the Tagalog region originally follows the field
of the ancient oral literature.
 Literary writers wrote in verse, maxims ad proverbs.
 The purpose of Tagalog literature is to promote national
consciousness of the Filipinos all over the Philippines.
 Through their works, they were promoting the regional identity of
Tagalog Literature.
 Some prominent writers include: Aurelio Tolentino, Amado V.
Hernandez and Lope K. Santos who was known as the “Father of the
Philippine National Language and Grammar”.
 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”.
 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”).
 Cebuano literature

 Cebuano literature refers to the literary works written in Cebuano, a

language widely spoken in the southern Philippines.
 The term is most often extended to cover the oral literary forms in both
indigenous and colonial Philippines. While the majority of Cebuano
writers are from the Visayas and Mindanao region, the most recognized
Filipino literary outlet for them, including the Bisaya Magasin, is based
in Makati city in Manila, while there is also a lively Cebuano
community of writers in the language which is based outside the
country.
 The term Cebuano literature, therefore, encompasses not only those
Visayas and Mindanao-based writers writing in Cebuano, but all
written output in Cebuano, wherever its source.
 The first written Cebuano literature is Maming, by Vicente Sotto, The
Father of Cebuano Literature. The story was published in the first issue
(July 16, 1900) of his Ang Suga. Two years later Sotto wrote, directed,
and produced the first Cebuano play, Elena. It was first performed at
the Teatro Junquera (in what is now Cebu City) on May 18, 1902. The
play established Sotto's reputation as a writer. The dedication of the
play by the playwright reads, "To My Motherland, that you may have
remembrance of the glorious Revolution that redeemed you from
enslavement. I dedicate this humble play to you."
 Maranao literature

 Maranao literature is largely floating and meant to be sung on different

occasions. It is greatly influenced by Islam as their religion.
 It follows the oral traditions such as Folktale (tutul), love poems
(tubad-tubad), sayings and proverbs (pananaro-on), dram (sowa-i),
riddles (antoka) and epic poetry (darangan).
 The Muslim cultural community affects the literary style and form.
 Most of their literature were meant to be recited, the community
portrays a big role in the development. The audience participates
through reciting, listening, and retelling the story.
 Their literary works were in form of oral literature passed down
through different generations.