'Toy napigket nga daga
Pitpitenmi nga umuna
Danggayanmi't kankanta
Takkiagmi a napigsa
Kettang ken bannogmi
dikam igingina 

     Mannamili
     Ilokano Folk Song

FULL PAPER

The Problem and Its Setting

            In a country with many ethnic languages, local writers are gaining more recognition and appreciation for keeping their local tongues alive amidst threat of corruption and extinction, due to the use of foreign and national languages in schools and in mass media. In spite of elite bias toward regional literatures, they maintain the tradition of preserving the beauty and elegance of regional languages and of candidly picturing local life through the various literary genres.

          It is the purpose of this paper to present an exposition of select works by Ilokano women writers. Such an exposition would reveal the intersection of women’s sensibility and aesthetic sensibility.

          This paper attempts to present and analyze the works of four Ilokano women writing in Ilokano in order to bring into the open their deep-seated yearnings and aspirations as writers trying to reflect about their individual lives and their society. It is noted that these four women writers are what may be called “emerging,” with years ahead of them to hone and sustain their craft.

          The emerging writers in this paper are: 1) Alegria Tan Visaya, 2) Aileen Rambaud, 3) Gladys Menor, and 4) Pacita C. Saludes. These authors were selected on the basis of the publication of at least three works in every genre in the Ilokano magazine, Bannawag, over the last five years, from 2002-2006. Additional information about them was obtained through a series of interviews.

          Approximately one-fourth of the present population of the Philippines speaks Ilokano as their native language. This gives a picture of the demographic situation of the country in which writing could grow. It is also this same situation that has made it possible for Ilokano literature to remain as a viable form of cultural expression despite the onslaught of the mass media and other popular forms of culture from Manila and the West.    

          Ilokano literature is considered one of the important “literatures from the regions.” The Ilokano women writers since Leona Florentino contributed much to this secure position of Ilokano literature.

          Proud of being an Ilokana and driven by a strong spirit of nationalism, they started to write novels, short stories, poems, essays, feature articles, and dramas. Many of their works speak about domestic problems; they touch on   issues related to contemporary culture; they complain about the seeming incongruity of Ilokano folkways when these folkways come into an encounter with the modern, more contemporary ways of Westernized life. Some of these works also unmask the difficult economic and social problems confronting the Ilokanos.

          In past decades, women writers have remarkably emerged in the field of Ilokano literature. Their writings have contributed in large scale in the development of Ilokano literature and in the important task of nation building.  They have joined the ranks of writers who know the social function of their works and the liberating ideas that are expected in a socially committed literary work. 

GUMIL Filipinas  

     The GUMIL Filipinas (Gunglo dagiti Mannurat nga Ilokano iti Filipinas—Association of Ilokano Writers of the Philippines) has become a gateway of Ilokano women trying to find their voice in literary writing in and from Ilokano. There is a current here—some form of an energy—and this is borne by the fact that the present set up of officers of GUMIL Filipinas and its provincial chapters and abroad are dominated by women writers. For instance, GUMIL Ilocos Norte, founded in 1978, recently elected Elizabeth Madarang Raquel as its first woman president;  GUMIL Hawai`i was organized in 1971 in Honolulu, Hawai`i and led it for many years. Two women, Raquel and Djuna serve as officers of the GF. 

      Some educational institutions in Ilocos Norte, like the Mariano Marcos State University, offer Ilokano language and literature as an integral part of their curriculum. These are required courses for graduation for undergraduate and graduate students. GUMIL Ilocos Norte writers are invited to give lectures and conduct literary seminars on the different genres of Ilokano literature.

     The University of Hawai`ii through its Nakem Centennial Conference includes a session on Ilokano Literature.  This speaks well of its intention to further extend its recognition of Ilokano writers today as part of the development of Ilokano literature. Recognition by a major institution such as the University of Hawai`i affirms the value and importance of Ilokano within the community, where the majority of the Filipino population is Ilokano speaking. Promotion of its literature through Ilokano writers organizations and drama groups helps maintain not only the traditions but also present the unique mindset and heart and soul of the Ilokano people.

Scope and Limitation

          This study focuses on the literary works of the following women writers: Alegria Tan Visaya for poetry; Aileen Rambaud for short story; Pacita C. Saludes for drama; and Gladys Menor for poetry and essay. It aims to discover how these women writers gained the level of creativity they have achieved, and assess their contribution in the development of Ilokano literature.

          The study is limited to the works of the four women writers of Ilocos Norte. The poems—dandaniw--written by Alegria Tan Visaya, at present Board Secretary and Professor at Mariano Marcos State University (MMSU), Batac, Ilocos Norte, presents a picture of life in various dimensions and social realities, and how the everydayness is translated into the imaginative through her poetic pieces.

          The stories of Aileen Rambaud—ababa a sarita--integrate problems in everyday life. An educator by profession, most of her stories are about the plight of teachers, issues that are familiar to her as a public school teacher.

          Hawai`i-based Ilokano writer, Pacita C. Saludes, regarded the first woman to have planted the seed of Ilokano literature in the State of Hawai`i in 1971, was responsible in the promotion, perpetuation, and preservation of the Ilokano language in Hawai`i.  A versatile writer, she wrote extensively about the sakadas.  Some of her major works were komedias, also known as moro-moro, a traditional play depicting conflict between Moors and Christians, resulting in the conversion of the Moors into Christianity. These komedias are regularly staged before an Ilokano audience in Honolulu.

Finally, Gladys Menor, also based in Hawai`i, writes poetry and feature articles. Her poems center on her social and cultural roots in Barangay Calayab, Laoag City, while her feature stories are mostly focused on the successes of Ilokanos in Hawai`i.

Women and the Creative Arts

          Ilokano women have made great achievements in the realm of creative arts. Theatre, design, dance, music and gymnastics are fields where they have excelled. The challenging art of writing is an area where women have distinguished themselves.

          In the Philippines, there are such women who have distinguished themselves in the production of literary works in English. To name some, they are Kerima Pacis Polotan, Gilda Cordero, Edith L. Tiempo, Rosalinda Orosa, Belinda Aquino, and many others. But in a country with many ethnolinguistic groups, the local writers, likewise, deserve attention. There is the unique contribution of keeping their local language alive and protecting it from potential extinction due to the hegemonic government policies of positioning English and Tagalog, masked as the Filipino, the national language mandated as the medium of instruction in schools and used widely in mass media that has penetrated even the remotest areas in the country.  The role of writers who have maintained an ardent desire to preserve the local languages is, indeed, deserving of attention and appreciation.

Bannawag, the Major Outlet of their Works

          The scarcity of the outlet of their works does not deter the desire of the Ilokano women writers to produce literary pieces of their own, who find publication in the Bannawag, a weekly magazine with about 45,000 copies in circulation. In addition, the Sirmata Magazine published monthly at Vigan City, Philippines also caters to local Ilokano writers. About half of the stated number of copies of the Bannawag is circulated in the Ilocos Region and the other half, in Hawai`i, the U.S. mainland and other parts of the globe where Ilokanos are found and have settled.

          Yet, Ilokano literature faces challenges both in the low level of production and youth participation in the field. Professionals now tend to write in English even as students spend greater time reading materials written in the vernacular.  While Ilokano remains to be the home language, speakers have become limited in vocabulary that satisfies the minimum requirements of daily communication due to the pervasive use of information technology. As the trend continues, preservation of the standards in the poetic and prose forms of the language, therefore, face a difficult challenge for writers.

The different genres  

Among the different genres of literature, woman writers engage extensively in are the nobela (novel), daniw (poetry), short story (sarita), salaysay (essay or feature story), drama and komedia (traditional stage plays).        

          GUMIL Ilocos Norte is actively involved in the training of prospective writers particularly student writers in campuses. Creative writing seminars enable beginners to develop their literary writing skills in Ilokano, the language of the locality. Their enthusiasm for writing is reinforced and sustained by writing contests sponsored by GUMIL Ilocos Norte; the contests are in the poetry and short story writing. Writing activities such as these help sharpen beginning writers’ knowledge and skills which will help fulfill their dreams of joining the ranks of seasoned and respected writers.

Traditional Ilokano Folkways

             Ilokano women writers are aware of their roles as preservers of Ilokano traditions, as these are depicted in their short stories and feature articles.

 Domestic problems are usually the subject of their stories. As household caretakers, they possess firsthand knowledge and experience in caring for the home and loved ones, which enable them to write more credibly about domestic problems and issues they and their families face everyday.

In Hawai`i, our writers have never abandoned their traditional ways and thinking, and affinity to the culture, as can be gleaned in their writings. They are still closely attached to the customs and traditions of the homeland, as seen in the scripts they write and theatre forms they stage – the komedia and the zarzuela – two distinct theatre forms that are being revived and produced generally for the Ilokano audience in some parts of the State.

Structural development of Ilokano literature

          We cannot deny that women writers are a major force in the development of Ilokano literature. Their contributions continue to strengthen the foundation established by their predecessors.  These women writers are dedicated allies in the interminable effort to build and improve Ilokano literary writing and bring Ilokano literature to a high level of recognition and respectability.

          Among the woman writers included in this study, the most notable is Pacita C. Saludes, who has written extensively in the different genres of Ilokano literature. A versatile and prolific writer, Saludes’ superiority was affirmed when the GUMIL Filipinas honored her with the prestigious Leona Florentino Award during the ‘80s. She was also awarded the UMPIL (Unyon ng mga Manunulat sa Filipinas—Union of Writers in the Philippines) in the ‘90s, and later recognized by the County of Honolulu as Outstanding Writer and Preserver of Ilokano Culture in the State of Hawai`i.

The Writers and their Works

             (1) Alegria Tan Visaya 

            The Ilokano poems of Alegria Tan Visaya, paints a picture of the people’s lives. We see in these individuals plodding on, searching that which is meaningful and with sense. Using a rich and vivid language, her poems realistically depict the vagaries and difficult facets of daily life.  In “Samiweng nga Idayyeng ‘Ta Barukong” (“The Song Your Breast Sings,” Bannawag, 6 March 2006), she writes:

          Timudek ti samiweng nga idayyeng ‘ta barukong

          Imdengak ti daniw a sangalen pitik ‘ta pusom

          Riknaek ti rissik-bara a rumkuas kadagita takiag

          Ti lallay ‘ta apagbingngi nga isem, ililinak.

            I listen to the murmuring tune of your breast

            I hear the poem that your heart creates

          I feel the power that bursts from your arms

          That lullaby of your smile will protect me.

            Manggargari ta arasaas palayupoy simmeda a buok 

          Pumaragsit ti musika a mangiduron lanay lunglung-aymo

          Dumanapeg ti pluma a mangkali naipempen a laglagip

Pasikig a taldiap a mangiparipirip dir-i iti kaunggan.

          That seducing whisper of your linen-like hair

          Music wafts and pushes  through your movement

          Heavy footsteps of pen dig out of hidden memory

          Side of a glimpse bringing out an inner scream.

          Tumagbat ti tadem nga iwasawas dayta panunot

          Umsiag ti pukkaw dagiti agdardarison a tagtagainep

Ket tumangsit ti karit ti rumsua nga ibabangon

Ay, aglalaaw la ketdi ‘ta medmedmedam a kinaulimek!

The blade that sways out of your mind cuts

Beckoning bursts of hurrying dreams

And arrogant challenge arouses an awakening

Oh, the rowdy noises of that tightening silence.

            Visaya is a keen observer of people’s lives and problems, as is shown her poem above. She believes that while using and employing the notions of silence and observation, she succeeds in understanding a person’s character from which she applies the characteristic richness of her language to develop, to write what could be called a poem from Ilokano with a sensibility for feelings that are raw.     The poem “Puris” (Thorn) published in Segden, the official publication of GUMIL Ilocos Norte demonstrates the same approach of Visaya to her making of a peculiar form of Ilokano women poetics:

          Dagiti puris a natirad ken babassit

          Narigat a lasinen ti kabus a mata

          No dalapusen iti di makitkita

          Lumteg, lumabbaga lasag a salputenna.

            Those small and sharp thorns

          Are hard to distinguish with a full moon’s eye

          When brushed by something unforseen

          Becomes swollen, red skin it pierces through.)

            Awan pilienna nalungpo ken saan

          Apges sumalpot iti tulang a timmabla

          Dumuyok iti tiempo a dimo ipagpagarup

          Sadino man dimo kunaen nga awan.

            It chooses no one healthy or not

          Pain pierces wood-like bones

          Pierces through at an unexpected time

          In any place you  never think it’s noting.  

            Puris laeng ngem maris met ti biag

          No masualit itedna a dagus ti bang-ar

          Agsala ti lubong, agsipat dagiti angel

          Ket mayanak manen paraiso ni Eden!

            Just a thorn but it also brightens life

          If uprooted brings instant relief

          The world dances, angels clap

          Paradise in Heaven would be born again!

(2)  Aileen Rambaud

          Most of Rambaud’s stories narrate of problems concerning teachers. As a teacher, she has seen of the need for public school teachers to be given the utmost respect by their superiors. Her story “Kenka, Apo Superbisor” (“For You, Mr. Supervisor,” Bannawag, 7 March 2005) shows her empathy towards the plight and problems of her fellow teachers.

          In this short story, Rambaud was able to create a social drama that reveals to us the sometimes-contradictory dynamic of public school teaching and the all-too-common intramurals that happen in any academic institution, including the possibility that some teachers who are expected to be role models, end up not being role models.  

(3) Pacita C. Saludes

             In 1971, Saludes, organized GUMIL Hawai`i, and became its founding president, holding that position until she retired in 2004. Saludes continued to write and produced many poems, short stories, feature stories, drama, and komedya. She staged many of these plays and directed them in the traditional style of Ilokano theatre. She also wrote columns for local Filipino newspapers and became a radio broadcaster.

Severino Pablo, one of the better writers in Ilocos Norte, anthologized Saludes’  well-received drama, “Gapu ta Patpatgenka,” (“Because You are Dear to Me”).  

          Her plays speak of the social and economic problems besetting the ordinary lives of Ilokanos today. Setting the dramas from the local rural scene of the Ilocos to the “luxurious” way of life in Hawai`i, the central theme of the plays were towards achieving prosperity and contentment that one can only achieve by settling permanently in Hawai`i. The main problem in her plays was authentically dramatized because she has lived both kinds of life.

          We see clearly in the komedia/moro-moro Saludes writes, produces, and directs that she is familiar with the theatrical traditional of the Ilokano people’s  Spanish past. Using this theatrical format, Saludes brings to life before an appreciative audience of Ilokanos in Hawai`i the glorious days of the komedia/ moro-moro, a popular form of entertainment among Ilokanos before the advent of more modern forms of technology-dependent theatrical forms with more sophisticated techniques.   

          An excerp of her play, “Gasatmo iti Dakulapko” (“Your Fate in My Hands”) reads:

Nana Nora:  Dakayo a babbalasang, agpapintaskayo a naimbag. Ita a rabii ti mangituding iti gasatyo. Balikbayan Night, amangan no masiloan ti pintasyo iti baliklakay! No asino kadakayo ti matamaan, di mapankanto metten idiay Hawaii nga ap-apalanda. 

 Young ladies, make yourselves very beautiful Tonight will determine your fortune. This Balikbayan Night, an old balikbayan man may be captivated by your charm.  If any one of you is chosen, then you would soon reach Hawai`i and become the envy of all of them.  

Lilia:  Ti dakes ket adda met boyfriendkon.  

But I already have a boyfriend! 

            Nana Nora:  Dakayo ketdi nga ubbing. No umasideg ti gasat arakupenyo a dagus ta amangan no mapanawankayon ti tren: Makitadak, agbakbaketakon a balasang. Awanen ti umasideg kaniak.

          You young ladies, when luck approaches you, embrace it quickly or the train will leave you behind.  Look at me.  I am now an old maid.  No one will come near me anymore.

Lilia:  Di sika koma nga agpayso ti kalalainganna, Nana Nora. Kabaddungalam ngata ni Tata Balikbayan.  

But you should be the right one, Nana Nora. Maybe, Tata Balikbayan is the right person for you! 

Vene:  Ti nasayaat mapantayo amin, Nana Nora. Napintaska pay met laeng. Abakmo pay ti balasang.

Better that we all go, Nana Nora. Anyway, you are still pretty. You look better than a young woman. 

Lilia:  Wen, Nana, umayka met makigasanggasat. Sika ti kalainganna para iti lakay a saan ket a dakami.  

Yes, Nana, you should come and try your luck too. You, not we, would be better for the old man.

An excerpt of “Kabibiag ni Prinsesa Amafel” (“The Life Story of Princess Amafel”) gives us an insight into how Saludes works her way through the linguistic, cultural, and theatrical requirements of the komedia:  

          Ari Redondino

          Ditoy pagariantayo a Macedonia       

          Ap-apalan dagiti taga-Moromoka      

          Annadantay’ a makastrekda             

          Ta narigrigatton no sunsonentayo ida

          Anakko, Prinsipe Ricardo, dumngegka

          Mapasubotay’ man ti gubat kiddawek

          Agraman buyottayo bilinem ida

          No maliklikan dikay’ pumatay uray maysa.         

          (Here at our Kingdom of Macedonia

          Envied by the land of Maramoka

          We must prepare for their attack

          For it would be difficult to them away.

          My son, Prince Ricardo, listen to me

          If we are forced to war I ask you

          And all our soldiers, tell them

          If you can avoid it, not to kill even one.}

          Ricardo

          Amak a pagdaydayawak

          Agtungpalak ita dawat

          Ngem ladingitek, diak maawat

          No dayawtayo ti malettat.

          Father that I always respect

          I will always abide by your wishes

          But I’m sorry you I cannot accept

          If our dignity is to be ruined.        

            Heneral Ascodilio

            Apo Ari a nangato

          Pagrukbaban dagiti tao

          No la ket ditay maluko

          Awatentayo ti areglo.

          Your Excellency, the most High

          Worshipped by the people

          As long as we are not deceived

          Reconciliation we will receive.

          Ricardo

            Ngem Ama, nakusit dagiti Moro

          Nalaingda nga agpalab-og mangirubo

          No aramidenda dayta diak maako

          Makapatayak la ketdi iti tao.

          But, Father, the Moros are tricky

          They are used to entrapping their enemies

          I would not allow them doing that

          I would then kill many people.

          Reyna Veneranda

            Anakko, pudno ti kunam

          Ta narigat met ti maikalang

          No la ket nalinteg ti pannagna

          Ti Dios bayabayennatayo a di agkurang.

          My son, your words are true

          It’s hard to be humiliated

          As long as you take the right path

          The Almighty God will assist us.       

4. Gladys Menor

            This poet and essayist is still a neophyte but has already shown her ability to write in the Ilokano language. Severino Pablo describes her in his book Dalipato as an Ilokano poet to watch in the State of Hawai`i. She once headed GUMIL O`ahu, founded by a prolific writer, Amado I. Yoro, another Hawaii-based Ilokano poet.

          Her Ilokano poem “Apay Ngata, Calayab?” (“Why, Calayab?”), published in Bannawag and included in Pablo’s Dalipato speaks well of her love and affection for the place where she was born. Her poem reads:

          Apay ngata, Calayab

          Nga idi addaak iti sidongmo

          Diak natakuatan dagiti

          Naruay a sagudaymo?

          Ti naplano a kadaratan

          Ti kabakiran a turod

Ti nalames a baybay

          Ti nadam-eg a bangkag?

            Why is it, Calayab

          That when I was still at your side

          I wasn’t able to discover

          The many things of your charms?

          The planned sand dune

          The turned forest cliff

          The ocean full of fish

          The fertile upland field?

            Apay ngata, Calayab

          A diak naimutektekan

Ti pintas dagiti buyam   

          Nga umay pagpalpallailangan

          Dagiti balikbayan

Dagiti turista manipud Taiwan

          Ken Manilenio a kakailian?

            Why is it, Calayab

          That I was not able to find

          The beauty that you possess

          The balikbayans never forget

          To come and relax in you

          The tourists from Taiwan

          And the Manilenios?

            Apay ngata, Calayab

          A nasken pay laeng

          A bimmallasiwak iti taaw

          Iti panangbirokko

          Iti ungto ti bullalayaw

          Idinto ta addaanka met

          Iti namaris a bullalayaw?

          Why is it, Calayab

          That I must have

          To travel through the ocean

          Searching

          Through the end of the rainbow

          When in fact you also have

          A glittering rainbow?

            Apay ngata, Calayab?

          Why, Calayab?

Menor’s feature articles show her unlimited access to information about what’s happening in the Filipino Community of Hawai`i. She focuses her attention on the achievements of her fellow Ilokanos and the organizations that do a great deal in building a good image for Filipinos in the community.  She talks about the cooperation of Filipinos in fostering solidarity and a more heightened sense of the human and the humane in the multi-ethnic society of Hawai`i. Menor excels in this aspect.      

Concluding Notes

          What we seen is a prospect for the future of Ilokano literature in the various genres. While much needs to be done still to involve more women in the creation and production of Ilokano culture mediated by the Ilokano language, there is that certain vigor that we see that reminds all of us that there is reason to hope for a more developed literature coming from the ranks of women who know how to write and who know what to write about. Such is the case of some of the Ilokano women writers whose works have been presented.

          From the framework of Ilokano women writing in and from Ilokano, we see clearly the role being played by the Ilokano Program at the University of Hawai`i Manoa in preserving, promoting, and perpetuating the various traditions of Ilokano writing.  Likewise, its role in systematically studying the possibilities and prospects in the Ilokano language has blazed a trail in the reflexive understanding of this very language that is the indwelling of the Ilokano soul wherever that soul is.

References: Ilokano

Julian, Peter La. and Pacita C. Saludes. Allangogan. Laoag: Grace Printing        Press, 2003. 

Pablo, Severino V.  Dalipato: Anthology of Ilocano poems written by the         Hawaii based Ilocano poets. Laoag: SVP Book Development       Project, 2002.

Pablo, Severino V.  Gapu ta Patpatgenka: Anthology of Drama and Komedia written by Pacita C. Saludes. Laoag: SVP Book Development Project, 2003. 

Pablo, Severino V. Apit I, Anthology of Ilocano novel, Short Stories and Poems.        

           Laoag: Community Press, 1984.

Pablo, Severino V., Duldulao, Pete. APIT II, Anthology of Short Stories and      Poems. Laoag: SVP Book Development Projects, 2005.

Saludes, Pacita C., et al.  Bin-i.  Antolohia dagiti Nangabak a Drama ken Sarita ti      GUMIL Hawaii 1980-1983, 1984.

Rambaud, Cles B. et al.  Bagnos: Ti GUMIL Hawaii iti Tallo a Dekada.  Manila: Gumil Hawaii, 2001.

References: English

Alegre, Edilberto et al.  The Writer and His Milieu, an Oral History of First       Generation of Writers in English. Manila: De La Salle University Press,         1984.

Cordero, Fernando G.  Being Filipino. Quezon City: GCF Books, 1981.

Cruz, Andres Cristobal. White Walls, Selected Tondo Stories. Manila: Yeba       Publications, 1984.

Cruz, Isagani R. In Our Own Words: Filipino Writers in Vernacular Language.   Quezon City: DLSU Press, 2000.

Eugenio, Damiana L. Awit and Corrido, Philippine Metrical Romances. University         Quezon City: U of the Philippines Press, 1987.

Gruenberg, Estrellita Valeros. Un-Uni , Echoes from Ilokandia. Manila: De La    Salle   University Press, 2000.

Landy, Joseph V., S.J.  Insight, a Study of the Short Story. Manila: National Book      1983.

Mendoza, Maria Paz Guanzon. The Development and Progress of Filipino         Manila: Kiko Printing Press, 1951.

Nakpil, Carmen Guerrero, Women Enough and Other Essays. Quezon City: Vibal

           Printing Press, 1963.

Tan, Arsenio B. Introduction to Literature. Valenzuela: 24K Printing Press, 1987.

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