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This document summarizes the development of Philippine poetry in English from the 1980s to the present. It discusses how poets during this period sought to free themselves from formalist techniques and move towards a more post-structuralist style that was relaxed and conversational. Poets began addressing issues of oppression, colonialism, and patriotism in their work. Women poets also began writing with their own voices on their terms. Overall, Philippine poetry matured and poets demonstrated a heightened mastery of the English language to craft works that reflected Filipino reality and culture.

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CHRISTIAN BUYOC
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213 views

Open Clearning Script

This document summarizes the development of Philippine poetry in English from the 1980s to the present. It discusses how poets during this period sought to free themselves from formalist techniques and move towards a more post-structuralist style that was relaxed and conversational. Poets began addressing issues of oppression, colonialism, and patriotism in their work. Women poets also began writing with their own voices on their terms. Overall, Philippine poetry matured and poets demonstrated a heightened mastery of the English language to craft works that reflected Filipino reality and culture.

Uploaded by

CHRISTIAN BUYOC
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as DOCX, PDF, TXT or read online on Scribd
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SLIDE 1 (TITLE)

 GOOD AFTERNOON PO, AS FOR THE CONTINUATION OF CHAPTER 14, THE SCENE SO FAIR, I
WILL DISCUSS THE LAST AND CURRENT PHASE OF PHILIPPINE POETRY IN ENGLISH.
 SO THIS PHASE IS CALLED THE OPEN CLEARING: POETRY FROM THE 1980S TO PRESENT.

SLIDE 2 (PHILIPPINES IN THE 1980s ONWARDS)


 BEFORE WE DISCUSS OUR LITERTURE THE, LET US FIRST GET THE CONTEXT DURING THOSE
TIMES.
 DURING THE 1980S, PHILIPPINES WAS UNDER MARTIAL LAW AS IMPLEMENTED BY
MARCOS. SO BASICALLY, DURING THESE TIMES, OUR FREEDOM WAS SOMEHOW TAKEN
FROM US AGAIN. SO WE CAN ONLY IMAGINE, THE FEAR AND ANGER THAT THE FILIPINO
FELT.
 SECOND IS THAT, WE WERE EXPERIENCING STRUGGLE WITH OUR ECONOMY Due to the
declining world market for Philippine exports. We also had trouble in borrowing resources
internationally. And if this was hard for the government, we could only imagine what was
it like for the people. If the economy is bad, the struggle for the people will be worse.
 THIRD, this is the time when many Filipinos are able to live in US BECAUSE In the 1960s,
THE new immigration reform law was passed AND THEN Martial law was implemented so
many filipinos left. (Brain Drain in PH and Asia.)
 EDSA, NEW CONSTITUTION FOR CHECK AND BALANCE, DENSE POPULATION, AND LASTLY,
WE HAD 90% LITERACY RATE THEN. KASE THEY VALUED EDUCATION TALAGA NOON.
SLIDE 3: THE OPEN CLEARING
“….new ways would be found of forging the work called poem.”
 BY THIS TIME, 1980S, THE 20TH CENTURY IS ENDING, WE ARE ALMOST REACHING A
CENTURY OF USING ENGLISH. SO IN SOME WAY, WE ALREADY HAD THE MASTERY ON THE
LANGUAGE.
 TAPOS, IN THE 1950s WE LEARNED NA YUNG NEW CRITICISM OR FORMALISM, POETIC
FORM KAYA WE HAVE THE KNOWLEDGE AND SKILLS NA TO CRAFT STRUCTURED POEMS.
 SO NEW WAYS NA DAW SA PAG FORGE NG POEM, GAYA LANG SA WHEN YOU ARE
LEARNING A SKILL NAG NAGSISIMULA SA IMMITATION TAPOS SA DULO ORIGINATION NA.
OR YOURE ABLE TO MAKE CHANGES AND CREATE YOUR OWN.

The poets needed to free themselves from 'New Criticism',


 THAT’S WHY THIS PHASE IS CALLED POST STRUCTURALIST O POST MODERNIST, BECAUSE
ITS MOVING AWAY FROM THE obsession with rhetoric, YUNG figures OF SPEECH,
ambiguity.
 ITO NA RIN YUNG REJECTION SA VIEW NA the poem as autonomous. KASI SA FORMALISM
DIBA, WE ARE REMOVING THE CONTEXT AND JUST FOCUSING ON THE TEXT ITSELF.
 AS A RESULT, THE language and rhythm ARE more relaxed,AND more conversational IN
COMPARISON WITH OUR PREVIOUS FORMS OF LITERATURE.

 THIS PHASE IS CALLED POST STRUCTURALIST O POST MODERNIST KASI IN THIS PHASE, THE
WRITERS ARE MORE CONCIOUS TO OPPRESSION, COLONIAL SUBJECT. IN A WAY, POEMS IN
THIS TIME TRIES TO EVOKE CONCIOUSNESS AT PATRIOTISM.

SLIDE 4 (A PHILIPPINE HISTORY LEASSON)


 JUST READ IT.
SLIDE 5 (ANALYE THE FIRST PART)
It's a history that moves us away from what we are
 ITS STRAIGHFORWARD, BASICALLY TELLING US THAT WE HAVE CHANGED……ETC ETC
 AND IF YOU COULD ALSO NOTICE, ITS TRYING TO RAISE CONCIOUSNESS TO THE EFFECTS OF
COLONIALISM.
SLIDE 6
Our poets in English (as well as in indigenous languages) have always stood upon their own native
ground.
 HOWEVER, YUNG NATIONALISTIC OR PATRIOTIC SPIRIT NATIN SA WRITING BEGAN NOON
PA, NOT JUST DURING THESE TIMES.
 IT WAS JUST ENRAGED OR EMPHASIZED DURING THESE TIMES KASI NGA, MARTIAL LAW
AND A LOT IS HAPPENING SA BANSA NATIN.
 SO NATURALLY, POEMS REFLECTED THE ACTIVISM OF THE FILIPINO PEOPLE, THE WRITERS.

SLIDE 7
Our writers began to be aware of new critical theories.
 WE CAN SEE HERE THE CONTINUOUS DEVELOPMENT OF OUR LITERATURE. IT’S
CONTINUOUSLY EXPOUNDING. SO WE LEARNED ABOUT THE NEW CRITICSM OR THE
FORMALISTIC APPROACH TO LITERATURE WHERE WE LEARNED HOW TO CRAFT
MITICULOUSLY STUCTURED POEMS, THEN ETO NGA, YUNG SA POST STRUCTURALIST
WHICH IS SOMEHOW THE OPPOSITE.
Yet our poets are generally not academics.
 THOUGH MANY FILIPINOS ARE IN THE UNIVERSITIES DURING THESE TIMES, WE WERE
REALLY NOT CONSIDERED ACADEMICS. ACCORDING TO OUR REFERENCE BOOK, INSTEAD
OF STUDYING THESE THEORIES, THE FILIPINOS WOULD RATHER DISCOVER IT THEMSELVES
THROUGH EXPERINEC AND PRACTICE.
SLIDE 8
Our poetry from the 1980s to the present is marked by a heightened consciousness of language in
the way it creates its own reality…
 DITO NA TALAGA EVIDENT YUNG MASTERY OF THE LANGAUGE NUNG MGA WRITERS
NATIN DURING THOSE TIMES. THEY WERE ABLE TO GO BEYOND THE NATURAL OR
GENERIC USE OF THE LANGAUE.
 THEY WERE ABLE TO USE IT TO CONJURE THEIR REALITY NA.
SLIDE 9: In this context, the poet Alfred A. Yuson has commented that: READ THE SLIDE
 SO SINCE WE’RE ALREADY REACHING THE 21ST CENTURY, SO MUCH TIME HAS PASSED,
WORLD LITERATURE HAVFE GROWN SO MUCH, PARANG SINSABI NA WE CAN NOT
PRODUCE NOVEL AND EXCEPTIONAL POETS OR TECHNIQUES ANYMORE.
 SO THE NEW SUCCESSFUL POETS ARE THOSE THAT USED THEIR PERSONAL VOICES, NOT AS
GRAND AS THOSE THAT HAVE COME TO PAST.
 NO MORE USING THE STRUCTURES LIKE THOSE OF THE WORLD MASTERPIECES, BUT
INSTEAD THE WORKS ARE SIMPLER, QUITER, AND MORE SUBTLE.
SLIDE 10; WOMEN IN LITERATURE
 THESE TIMES, WOMEN WROTE IN A NEW MANNER WITH THEIR NEW VOICE. THEY WROTE
NOT THE WAY THEY WERE EXPECTED TO OR YUNG INNER PROMPTINGS NGA.
 AS A RESULT, MAS MARAMI NANG POEMS NG FILIPINA WRITERS ANG NASALI SA MGA
PARANG COMPILATION OF POETRY NG PILIPINAS.
 UNLIKE BEFORE NA PA APAT OR SAMPU LANG OUT 90.
 SA A HABIT OF SHORES, 30 OUT OF 96. IT’S A MILESTONE.
 AND ACCORDING TO THE AUTHOR OF THE BOOK, IT’S NOT MERELY GENDER
DISTRIBUTION. THEY REALLY EARNED IT BECAUSE THEIR WORK WERE ARTISTIC AND AS
THE AUTHOR SAID, AND I QOUTE “seemed to him to speak to the Filipino in their own
historical and cultural milieu.”
SLIDE 11: CONCLUSION
 OUR WRITERS, REALLY WORKED HARD AND GAVE EFFORT IN CRAFTING PIECES OF
LITERATURE IN ENGLISH. TO THE POINT THAT THEY WERE ABLE TO INFUSE THE FILIPINO
REALITY TO IT.
 AND ON THE FIRST PART OF THIS CHAPTER, FATHER BERNARD SAID THAT PHIL LIT IS
PERPETUALLY INCHOATE DUE TO THREE ISSUES OR PROBLEMS.
 FIRST IS THE FINANCIAL PROBLEM, IT WAS HARD TO EARN BEING A WRITER, HOWEVER,
TODAY I AM NOT SURE IF THIS IS STILL THE CASE.
SLIDE 12: LINGUSITIC PROBLEM
A poem is not given by language; rather, the writer must achieve a mastery of the way of looking
and thinking that inheres in the language.
 ALMOST A CENTURY HAS PASSED, AND WETHER THE WRITERS USE FILIPINO OR ENGLISH,
IT’S BECOME JUST A MATTER OF CHOICE.
 QUITE FRANKLY, WRITERS TODAY TEND TO BE BILINGUAL WHEN WRITING.
SLIDE 13: CULTURAL PROBLEM
 IT IS NOT OUR CULTURE ITSELF THAT IS THE PROBLEM BUT THE EDUCATIONAL SYSTEM.
THE READING COMPETENCY OF FILIPINOS TODAY IS DETERIORATING. AND THE AUTHOR OF
THIS BOOK CITES THE PRESENCE OF THE MULTIMEDIA AS ONE OF THE CAUSES.
 SOMEHOW I AGREE WITH THIS. MOST CHILDREN WOULD PREFER TO WATCH THAN READ.
 THEN THERE IS NO WIDE AUDIENCE FOR LITERATURE.
SLIDE 14:
Most of our writers in English come from the middle class and are college graduates. As a
consequence, our fiction and poetry in English since the 1950s has dealt with the life of the urban
and middle classes.

SLIDE 15: READ,


 WRITING IS CONTINUOUS, DYNAMIC, AND MULTIFACETED. WRITERS MUST EMBRACE
CHANGE.

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