Region 1 Ilocos PDF

Region 1 Ilocos Objectives: At the end of the lesson, the students are able to: 1. name the provinces in Region I 2. identify distinctive characteristics of the people in the region 3. discuss the Iloko literature and the writers 4. presen...

Region 1 Ilocos Objectives: At the end of the lesson, the students are able to: 1. name the provinces in Region I 2. identify distinctive characteristics of the people in the region 3. discuss the Iloko literature and the writers 4. present details and ideas through word web and story map 5. extract values from the literary arts and works that originate from the region Background This region includes Ilocos Norte, Ilocos Sur, La Union, and Pangasinan. Below is the description of the literature in Ilocos. Considered as part of national literature by critics and literature experts, Iluko's writing has to be rendered in English and/or Filipino, the national language. While translation is vital to be understood by the readers of the country, it creates a problem for the Ilokano writer. He is obliged to keep pace with the minds and culture of the readers. It is a problem that delimits the space open to Iluko's writing. Iluko writing in another language suffers constriction. One example of this is Lam-ang, an epic that has survived colonization. A close look at the epic reveals the impact of the colonial experience on the aesthetic sensibility of the Ilokano. The traces of Catholic practices in the epic betray pollution of the cultural life of the Ilokanos resulting from accommodation by the Ilokano himself to the cultural intervention of the conquistador. Traces of the indigenous can be found in the burtia or burburtia (riddle) and the pagsasao (sayings). The pagsasao distills philosophical insight and reflection about human life as these are rooted in the unique historical and cultural experience of the Ilokano. This fidelity to human experience is reflected in the dallot, a chant during weddings and birthdays, and in the dung-aw, a chant narrating the pain and joy and the life story of both the living and the departed. Both the dallot and the dung-aw are forms of performance art, and like the pakasaritaan ti biag (epic), they antedated the drama. In the excerpt from a dallot (Dallot to Panangas-sawa), the members of the party of the groom attempted to establish the parameter for the marriage to be offered to members of the party of the bride. Marriage as an institution is not a private affair between a man and a woman vowing to love each other till death, but, as the dallot clearly shows, is a communal concern. These are rite and ritual, rhyme and reason. Even with today’s evolved notion of marriage, some places in the Ilocos still fiercely hold on the dallot as a unifying cultural practice. The Ilokano observes several ceremonies. In life, his wishes are oriented by a sense of direction. He does not say “Good Morning” but instead asks, “Where are you going?” Honor is not an individual affair. You triumph, your community triumphs. You lose, your community loses. This is the sense in which kablaaw (tribute) is contextualized. _______________________________________________________ 7 Ilocos Region  The arikenken, a verbal joust, is said to be the precursor of the bukanegan, the latter is named after Pedro Bukaneg, one of the better known poets during the Spanish colonial period. Argumentation as an art reflecting a certain sophistication of mind is proved and demonstrated through the bukanegan. A complex mind is behind the Ilokano myths. The Ilokano sense of the cosmological and the ontological is seen in the way he looks at the hierarchy of existence, how space and time are experienced and elaborated, and how human is located in the universe and nature. There are gods, goddesses, and anitos, and it is the myths of the gods and goddesses that make the readers understand. While tradition spells social stability, the Ilokano has also welcomed change over time, this change has taken the form of capitulation, revolt, and struggle. Bulosan fought against discrimination in the land of democratic ideals called America. Arguilla’s territory is the same site of Iluko sensibility and experience begging to be named, the site symbolized by Nagrebcan and its mornings and evenings and hopes and tragedies. From this sensibility and faithfulness to the Iluko experience would spring a living tradition, a vibrant desire to paint a picture of what it is to be an Ilokano, with all its contradictions. All told, Iluko literature is both an attempt to paint the unique life of the Ilokano and to transcend that uniqueness by creating images and narrating experiences beyond that which the Ilokos terrain provides. There are poetic pieces that reflect upon the migrant’s lonely, tragic exile in a land both strange and welcoming; strange because there can never be a substitute for the Ilokos with its memories and promises and betrayal; welcoming because the new land could be fair and could afford to be socially just. TOBACCO COUNTRY. Ilocano woman lights a typical cigar. The Ilocos region is one of the main producers of tobacco. (Mayo 1924, American Historical Collection) Iluko literature continues to be a witness to the life of a people that is linguistically different from the rest of the country but a people that is the same as the rest—the same precisely because the Ilokanos also speak of the ili, the pagilian; the same because they dream of wayawaya and gin-awa for the umili and the ina a daga; the same because they cry out for kappia and kinalinteg. The other story of the Ilokanism perhaps, is best seen in their literature. Their other voice seeking authentic expression perhaps is heard in their songs and poems and stories. Their other history, perhaps, is drawn from their narratives —their sarsarita, the root word of pakasaritaan, their history. Pakasaritaan and sarita, history and story, narrative and the unfolding of life—all these weld to reveal who the people are and what kind of future they want to have. 8 ______________________________________________________________ Ilocos Region  Discussion: 1. What are the provinces in Region I? 2. What is the common language used by the people? 3. Describe the Ilocano by giving their peculiar c haracter traits. 4. Who are some of the notable Ilocano writers? 5. Describe the Iloko literature. List some of the Ilocano traits that are reflected in the Iloko literature. 6. What are the Ilocano cultural practices? Which of these practices are still being observed at present? Literary Works 1 DAGITI DIOS KEN DIYOSAS THE GODS AND GODDESSES Ti Cabalangegan sigud a Cabalangegan was formerly a kabakiran, ket ti igidna isu ita ti karayan ti jungle at the edge of the river Abra. In the Abra. Iti sbali a bangir ti karayan adda far sides of the river were mountains high bantay dda maysa a lakai nga agnagan ti and steep. On these mountains lived an old abra, ama ni caburayan. Agnaed ditoy ket man named Abra, the father of Caburayan. tinengngelna ti tiempo. Kunada a ti Karayan The old man lived and controlled the Abra naurnon a nagdanum nga asuk a weather. It is said that the river Abra was a nalinongan, ngarud dagiti adda kanayonda gathering of water vapor, shaded, and the a naraniag. days were always bright with sunlight. Iti dayta a tiempo, Diyos ti Panagani, At the time Anianihan, God of Agrayo ken caburayan a Diyosa ti harvests was in love with Caburayan, pananggapas. Ni donya Makiling a nanangna Goddess of Healing. Her mother, Lady naamuanna ti panagkinnnaawatanda ngem ni Makiling knew about their mutual abra saanna a naamuan ta mabuteng dagitig understanding, but Abra did not know it tallo a nangibaga. Mabalin a dusaenna ida ta for the three were afraid to tell him since dina kayat ni Anianihan. Kayatna nga iyasawa he might punish them as he disapproved ti anakna ken ni Saguday, Dios ti Angin wenno of Anianihan. Abra wanted his daughter ni Revenador, Diyos ti Gurruod ken kimat. to marry either Saguday, God of the wind, Gapu ti daytoy ni Anianihan intalawna ni or Revenador, God of Thunder and Caburayan iti taengda. Ni Abra nagsangsangit Lightning. This being so, Anianihan took unay, pinatalawna ni Donya Makiling kalpasan Caburayan from her home. Abra wept a ti panangkabkabilna kenkuana. great deal. He sent Lady Makiling away after beating her. Idi nabati ni abra a maymaysa, When Abra was alone, he nagsangsangit, aldaw ken rabii, ingganat’ wept day and night till Bulan, God of dimteng ni Buluan a Diyos ti Kappia ken Peace and Calm, came. But though Talna. Ngem uray adda pay ni Bulan a Bulan was there to brighten Abra’s mangparaniag iti rikrikna ni Abra, ni Abra spirits, Abra did not stop weeping. He saan a nagsardeng nga agsangsangit. Saana could not express his anger. He a naipeksa ti pungtotna. Nagkararag kadagiti begged the other gods to bring back caddua a doyosa para ti anakna. his daughter. Source: Ciriaca A. Alcalin, Capangpangan, Vigan, Ilocos Sur, Provinces (Vigan, Ilocos Sur Division Superintendent of Schools 1952). _______________________________________________________ 9 Ilocos Region  Comprehension Check 1. Name the characters of the story. 2. Describe the characters based on their roles. a. Abra as a father, as a husband b. Makiling as a mother, as a wife c. Caburayan as a daughter, as a lover d. Anianihan as a lover 3. What could be that secret not known to Abra ? 4. Why did Caburayan elope with Anianihan ? 5. How did Abra feel about it? 6. Was Abra right when he hurt and drove Makiling away? Explain. 7. What lesson is reflected in the story? Activity: Make a dialogue based on the story of Caburayan and Anianihan. Literary Works 2 BIAG NI LAM-ANG (LIFE OF LAM-ANG) By Pedro Bukaneg Pedro Bukaneg was known as the father of Iloko literature. His greatest achievement was the writing of an epic poem, Biag ni Lam-Ang which consists of 294 stanzas or about 1500 lines. He was highly respected by the friars and the people as a teacher and a preacher. It was presumed that before Pedro Bukaneg died, he left many Spanish translations of native songs, poems and other folkways depicting native culture. Summary: In Nalbuan, somewhere in the Valley of Naguilian River in La Union lived Don Juan Panganiban and his wife Namongan. At the time Namongan was getting ready to give birth to her first born, Don Juan Panganiban had to go to the mountains to punish an Igorot band. While the husband was away, Namongan gave birth to a baby boy with both the power of speech and an unusual physical form. He told his mother that he should be named Lam-ang. The boy asked his mother where his father was. Lam-ang learned that his father has gone to fight the Igorots. When Lam-ang was nine months old his father has not yet returned, armed with charms and powers, Lam-ang left his mother to look after his father. From a dream, he learned that his father was killed by the Igorots. Later, Lam-ang found the Igorots in a sagang, a feast celebrating a successful head hunting expedition. He found the Igorots still feasting around the severed head of his father. Lam-ang slew them all, except one whom he tortured first before releasing. Upon returning home, ninety-nine maidens gave him a bath in the Amburayan River. 10 ______________________________________________________________ Ilocos Region For his shampoo, he burned so much straw that the communities near the river were alarmed by the smoke. From the dirt of his hair and foul odor of his body, the water turned black and all the fish in the river died. Lam-ang heard about the beautiful maiden named Ines Kannoyan, daughter of the richest man of the town of Kalanutian. He told his mother of his desire to court the maiden. Although his mother tried to discourage him, nevertheless, he took a white rooster and a dog with him as he went forth to court Ines. On his way to Kalanutian, he met his rival named Sumarang. They quarreled violently and hurled him nine hills away. Later, Sarindang tried to seduce him but Lam-ang rejected her advances. Reaching Kalanutian, Lam-ang found a crowd of rivals for the hand of Ines Kannoyan. He impressed everyone with his magic. He made his white rooster crow mightily and immediately the small house in the neighborhood collapsed, the people shouted in surprise and fear. Hearing the noise, Ines looked out of her window. To impress Ines Kannoyan, he made his dog growl. And the house that collapsed erected again as if nothing had happened. Duly impressed, Ines and her parents came down and invited Lam-ang. The rooster acted as the spokeperson of Lam-ang. From the rooster, Ines and her parents learned the true intentions of Lam-ang. The parents of Ines Kannoyan asked for a bride price. They said that they will bestow the hands of Ines to Lam-ang if he could equal their wealth consisting of lands and golds. Lam-ang went home and prepared for his wedding. With the help of his mother Namongan and transfolk, he was able to bring gold more than match the wealth of the Kannoyans. He married Ines and there was great celebration. After sometime, the headman of the town reminded Lam-ang of their tradition, where Lam-ang had to catch rarang. Lam-ang told Ines that he had a premonition that he would be bitten by a giant fish called berkakan. Inspite of this, Lam-ang was not discouraged to comply with what the tradition dictates him to do. Just as he had dreamt so, Lam-ang was swallowed by the giant fish. Ines became very sad and lonely but the white rooster told her that if the bones of Lam-ang could be recovered, he might be revived. With the help of the diver named Marcos, all the bones of Lam-ang were collected. Ines was instructed to put her apron over the bones of Lam-ang. The rooster crowed, and the hen flapped her wings. The dog growled twice, running and pawing at the bones, life began to stir in the assembled bones of Lam-ang. Because of this, Lam-ang rewarded the diver, then the couple lived happily ever after with their pet friends. _______________________________________________________ 11 Ilocos Region  Comprehension Check 1. Describe the setting of the story. 2. Who are the parents of Lam-ang? 3. What were the strange things Lam-ang had done when he was newly born? 4. Where was Don Juan Panganiban when Namongan gave birth to Lam-ang? 5. How old was Lam-ang when he left Namongan to look for his father? 6. What did Lam-ang see in his dreams? Did the dream come true? 7. If you were in the position of Lam-ang, would you do the same thing? Explain. 8. What character trait of Lam-ang is truly Ilocano? 9. Who captured Lam-ang’s heart? What did Lam-ang do to impress the Lady from Kalanutian? 10. What cultural practices of the Ilocano are reflected in the story? Which of these practices are still being observed today? Activity: Complete the plot of Lam-Ang. Title Theme Beginning Complication Climax Denouement Conclusion 12 ______________________________________________________________ Ilocos Region