21st-Century Literature from the Philippines and the World – Comprehensive Study Notes

Geographic, Linguistic, and Ethnic Dimensions

• Philippine literature mirrors the archipelago’s diversity: more than $7{,}600$ islands, >180 languages, and hundreds of ethnolinguistic groups.

• Geography influences theme and form (e.g., coastal communities → boat songs; highlands → epics of hero-ancestors).

• Language shift through time:

  • Baybayin (pre-colonial) → Spanish (16th–19th c.) → English (20th c.) → Multimedia/ICT code-switching (21st c.).

• Ethnic traditions remain embedded (Ifugao Hudhud, Maranao Darangen, Tausug Parang Sabil, etc.) and resurface in contemporary adaptations.

Three Macro-Periods of Philippine Literary History

• Pre-Colonial (before $1565$)

• Colonial (Spanish $1565{-}1898$, American $1898{-}1941$, Japanese $1941{-}1945$)

• Post-Colonial (1946–present) ⇒ subdivided into 8 more phases for precision.

Mnemonic for Timeline (teacher-supplied)

“Pretty Spanish Enlightened Americans Joined, Philippine Activists Thrived Post-Edsa 21st.”

• Pretty = Pre-Colonial

• Spanish = Spanish Period

• Enlightened = Period of Enlightenment/Propaganda

• Americans = American Regime

• Joined = Japanese Period

• Philippine (Lit. in English) = 1946-1970

• Activists = Period of Activism/New Society

• Thrived = Third Republic

• Post-Edsa = Post-EDSA I

• 21st = 21st-Century Literature

Pre-Colonial Period (before $1565$)

• Longest era; purely oral – knowledge passed mouth-to-mouth.

• Writings: Baybayin syllabary (17 basic glyphs).

• Genres & Examples:

  • Folk Tales – moral-laden stories, e.g., “The Sun and the Moon” (Tingguian) → explainer of eclipses & jealousy.

  • Epics – long heroic verses; Biag ni Lam-ang, Darangen, Hinilawod.

  • Folk Songs – metrically 12 syllables; Kundiman (love), Kumintang (war), Oyayi (lullaby), Soliranin (boat song).

  • Minor forms: Bugtong (riddle), Salawikain (proverb), Kasabihan (saying).

Spanish Period ($1565{-}1898$)

• Literature flourished under religious vs. secular split.

• Replaced Baybayin with Roman alphabet; printed first book “Doctrina Christiana” (1593).

• Religious theater: Moro-moro/Comedia – Christian–Moor battles.

• Folk songs adapted Spanish melodies (Pamulinawen, Sarung Banggi, Atin Cu Pung Singsing).

• Literary highlights:

  • “Florante at Laura” – Francisco Balagtas; allegory of love & nationalism.

  • “Ibong Adarna” – anonymous/attributed to José de la Cruz; magical bird quest.

  • Awit (love narratives, $12$-syll) vs. Corrido (heroic tales, $8$-syll).

• Spanish loanwords enriched Filipino lexicon; periodicals took religious tone.

Period of Enlightenment / Propaganda ($1872{-}1898$)

• Led by Illustrados (European-educated middle class).

• Aims: expose colonial abuse, persuade reforms (not yet revolution).

• Key figures & texts:

  • José Rizal – Noli Me Tangere, El Filibusterismo, “Mi Último Adiós,” essays on indolence & future Philippines.

  • Marcelo H. del Pilar – “Pag-ibig sa Tinubuang Lupa,” “Dasalan at Tocsohan.”

  • Graciano López Jaena – “Fray Botod,” “La Hija del Fraile.”

  • Others: Antonio Luna, Mariano Ponce, José Ma. Panganiban, Pedro Paterno.

• Published mostly in La Solidaridad (Spain).

• Significance: seeded revolutionary consciousness → $1896$ revolution.

American Regime ($1898{-}1941$)

• English introduced as medium of instruction; ushered “Golden Age of Tagalog & English short story.”

• New genres: short story, essay, modern newspaper, magazine & later comics (KOMIKS).

• Writers & Works:

  • Manuel E. Argüilla – “How My Brother Leon Brought Home a Wife.”

  • Carlos Bulosan – essays/novel America Is in the Heart; migrant struggles.

  • Carlos P. Romulo – speech “I Am a Filipino.”

  • Amado V. Hernandez – novel Mga Ibong Mandaragit; social realism.

• Infrastructure: roads, schools, press; democratization ideals juxtaposed with colonial control.

Japanese Period ($1941{-}1945$)

• English publications censored; Filipino & Nihonggo promoted.

• Poetry bloomed in native tongue; three dominant forms:

  • Haiku – $5{-}7{-}5$ syllables. Example: “A fat bee stings me … I do not cry though.”

  • Tanaga – $7{-}7{-}7{-}7$ syllables, 4 lines. Example: “ang hating-gabing kulay / tulad ng aking buhay …”

  • Karaniwang Anyo (verso libre/free verse).

• Liwayway magazine tightly monitored; themes of wartime suffering surface implicitly.

Philippine Literature in English ($1946{-}1970$)

• Post-war revival; bilingual publication surge.

• Themes: Japanese brutality, guerilla exploits, rebuilding.

• Filipino writers attained mastery of English; prizes like Commonwealth Lit. Awards promoted excellence.

Period of Activism ($1970{-}1972$)

• Youth, spurred by global & domestic crises (Vietnam War, corruption), spearheaded Literary Revolution.

• Campus journalism, street theater, protest poetry; language became raw & visceral.

Period of the New Society / Martial Law ($1972{-}1980$)

• Declared Sept 21 $1972$; state censorship yet paradoxical cultural push.

• Carlos Palanca Memorial Awards continued, encouraging literary craft.

• Poetry favored themes of patience, nature, ethnic roots.

• Government-sanctioned media highlighted “discipline,” economic success; sensational crimes downplayed.

• Magazines/comics (incl. imported Batman) remained popular escapism.

Third Republic ($1981{-}1985$)

• Martial Law technically lifted Jan 17 $1981$; dissent persisted.

• Literature turned romantic & revolutionary; writers openly criticized regime using fiery language.

• Songs (e.g., Freddie Aguilar’s revival of “Bayan Ko”) became protest anthems.

• Historical context: Marcos’ proclaimed “Fourth Republic” (June 30 $1981$) vs. public’s clamor for genuine freedom.

Post-EDSA I Revolution ($1986{-}1999$)

• Feb 22-25 $1986$ People Power toppled dictatorship; press freedom restored.

• New newspapers (Philippine Inquirer, Malaya, People’s Journal) surged in circulation.

• Media & songs reflected renewed nationalism; “Bayan Ko” re-popularized.

• Cultural optimism yet grappling with coup attempts, economic woes.

21st-Century Period ($2001{-}\text{present}$)

• ICT-driven literature: blogs, Wattpad, graphic novels, Twitterature, flash fiction, hyperpoetry.

• Multimodality: text + audio + video combos; readers expect interactive narrative.

• New codes/“jejemon,” emojis, multilingual mash-ups → mark generational voice.

• Global Filipino authors (Miguel Syjuco, Gina Apostol) dialogue with diasporic identity, while local writers innovate in spoken-word & zines.

• Readers required to be digital natives; schools integrate e-lit into curriculum.

Cross-Period Connections & Significance

• Oral → Print → Digital: preservation methods evolve yet core themes (freedom, identity, love, nature) persist.

• Colonization cycles fostered hybridity; each regime injected vocabulary, form, and ideology.

• Literature continually served as barometer of socio-political climate and as catalyst for reform (Propaganda, Activism, EDSA).

• Ethical Aspect: Duty of writer as conscience of nation; balancing artistic freedom with social responsibility.

Representative Authors by Region (suggested oral-history project)

• Ilocos: Pedro Bukaneg (Biag ni Lam-ang translator); Leona Florentino.

• Bicol: Merlinda Bobis; Kristian Cordero.

• Visayas (Iloilo/Cebu): Magdalena Jalandoni; Resil Mojares.

• Mindanao: T’boli chanter Hikung Bai (epic Tudbulul); Maranao Gumapon Matanong.

Numerical / Statistical References

• Total macro periods considered: $3$ (with $10$ finer timeline cuts).

• Key year markers: $1565, 1872, 1898, 1941, 1946, 1970, 1972, 1981, 1986, 2001$.

Quick-Glance Summary (per module)

1. Pre-Spanish: Legends, Folk Tales, Epics, Songs.

2. Spanish: Dominantly religious; Christian doctrine central.

3. Propaganda: Middle-class intellects voice reform.

4. American: English medium; short story & essay flourish.

5. Japanese: Haiku & Tanaga influence.

6. Phil. Lit. in English: writers master English craft.

7. Activism: youth seek reforms; revolutionary art.

8. New Society: poetry on patience, native culture, nature.

9. Third Republic: romantic, fiery, nationalistic.

10. Post-EDSA I: resurgence of freedom felt across media.

11. 21st Century: ICT-oriented, genre-bending, global.

Study Tips & Possible Exam Prompts

• Memorize mnemonic & match each keyword to its period.

• Be able to cite one author & one genre innovation for every era.

• Practice identifying a poem excerpt’s period based on form (e.g., $5{-}7{-}5$ → Japanese, corrido couplets → Spanish).

• Relate literature to historical events (e.g., Noli → expose friars, Martial Law poems → coded dissent).

Ethical / Philosophical Questions to Reflect

• How does colonizer language affect authenticity of native voice?

• Can propaganda ever be purely artistic? Where is the line between art & activism?

• In digital era, who owns a story once it’s shared online?

Real-World Relevance

• Cultural tourism uses folk epics to brand provinces (UNESCO recognition of Darangen).

• Protest songs ("Bayan Ko") resurface in modern rallies; literature remains a live political tool.

• Baybayin revival in logos/tattoos shows cyclical return to roots.

Sources & Further Reading

• DepEd Region IV-A CALABARZON module

• Slideshare URL (see transcript)

• Gonzales, V. (2020) Philippine Literature: A History & Anthology

• Lumbera, B. & Lumbera, C. (2005) Tagalog Literary History

End of notes.