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Literature – based Workshop


Introduction to Group Study and Theatre Program of the

Titus Brandsma Center-Media Program


Introduction to the concept of “Literary Dialogue”

Theme of the Workshop

In the Eyes of its People

Morning Sessions: October 25-30, 8-12 NN

Participants: 30 high school students, 10 college students and
9 postulants-professionals (49 total)
Venue: Social Hall

First Day


Workshop Goals
Workshop Objectives
Group Study and Theatre Program
Literary Dialogue

I. Folk Media: Its contributions in the midst of modern mass media


II. A Short Introduction to Basic Literature

 What is literature?
 Different forms of literary works/literature
Poetry (narrative, lyric and dramatic)
Short Stories
Strategy: Lecture/Inputs, assignment, ice breaker activities (getting to know you!), drawings
Material: Power point presentations

Assignment: Research for a Mindanawon Story (legend, poems, myths, short stories (etc.)

Second Day

III. Media/Art Content Analysis

 Activity: Content analysis of paintings, sculptures, photos, ads, songs and

TV/radio programs

IV. Contextualizing Folk Literature

 Analyzing folk stories based on values, lessons learned, ideologies, psyches and
frame of thinking promoted and presented.
 Application of stories to present life situations using experiences.

V. Suggestions for writing their own literary scenario (culminating activity)

 Activity: Strengthening your imagination. Meditation. Imagine your dream

getaway /place

Strategy: activities, analysis, lecture/input

Material: Power point presentation

Third Day

VI. Literary Dialogue

A. Sample Mindanawon Stories (Researches by Jofti)

 Discussion, dialogue within the group
 Debate/Panel Discussion group by group

B. Sample Mindanawon Stories (Researches by Students)

 Discussion, dialogue within the group
 Debate/Panel Discussion group by group
Strategy: discussions, concept approach, debates and panel discussions
Assignment: Choose a contemporary story preferably authored by a Mindanawon
Fourth Day

VII. Group Study and Theatre Program: Application

 Activity: Alternative possible solutions in a story. (in a skit)

 Choose a contemporary story (Research by Jofti)
 Discuss/ make a group study of the story.
 Critique each group’s story ending.

Strategy: Literary dialogue

Material: contemporary stories

Fifth Day

VIII. Group Study and Theatre Program: More Practice

 Activity: Alternative possible solutions in a story. (in a skit)

 Choose a contemporary story (Research by Students)
 Discuss/ make a group study of the story.
 Critique each group’s story ending.

Strategy: Literary dialogue

Material: contemporary stories

Assignment: Choose a folk literature story, transform to what form (poem, epic, narrative, short
story, essay, prose) and make a presentation with all the alterations made in the story, if there are
things (scenes, characters, events) that you felt need to be changed.

Sixth Day

IX. Applying your own Folk Literature Stories

 Presentation of your own folk literature story.

 Explain how did you come up with such alterations after reading the original

Practice for the culminating activity.

Seventh Day

X. Culminating Activity

 Proposed Activity: The students will be composing their own literature

(playwright) very simple though, without yet the technicalities. Just the raw story
in their minds about the theme; how they would make a positive presentation of
 Let their creativity flow: we let them choose what form they wanted to use for the
presentation. It can be a dance, skit (drama), mime, choral speech, etc. They will
use their composition for the presentation.
Workshop Proper

Title of Seminar-Workshop
“Literary Dialogue”

First Day


A. Introduction of Facilitator and participants through game (name recall)

Name Recall Game (30 minutes)

Form a big circle

Make an action (any kind that best describe yourself, then state your name)
The person after you should recall your name and the action you did.
If you forgot, you will have to pick a query card and answer it.

B. Introduction of course and the flow of the week

C. Rationale, context of the course

Rationale and Context

Question: What do you think media does to you? Observe the programs that you have been
watching. What do they do to you as a person? Do the programs you watch transforms you, help
you in a way to become a better person? What kind of media do we have right now?

The TBCMP Project

Focus of the 3-year program of TBCMP is entitled: The Revival of Traditional Media within
Modern Mass Media in the Media Education Program of the Carmelite Media Ministry in
Carmelite Mission Areas.

Based on the Context of widening globalization:

1. Critical community awareness and resilience;

2. Critical consciousness and response among media audience;
3. Community awareness that true development of human being goes beyond
material and technological advancement or mere economic growth;
4. Propagation of Philippine culture is essential;
5. Encourage unity and community development.
(since it is community-oriented, it strengthens solidarity unlike globalization, which
offers the uniformity of the same products we consume)

Aetatis Novae: affirms that mass media “by no means” detract from the importance of
alternative media, which are open to people’s involvement and allow them to be active in
production and even in designing the process of communications itself.

The Church rather “must take steps” to preserve and promote folk media and other traditional
forms of expression, recognizing that in particular societies there can be more effective than
newer media in spreading the Gospel because they make possible greater personal
participation and reach deeper levels of human feeling and motivation.

Purpose: to provide teaching and initiation; imparting traditional aesthetic, historical,

technical, social, ethical, religious values; to provide legal code which rests in stories and
proverbs; mobilizing peoples awareness on their own history; to unite people and give them
cohesion of ideas and emotions.

Other advantages: Grassroots and traditional media not only provide an important forum for
local cultural expression but develop competence for active participation in shaping and
using mass media.

Theatre, song and dance, puppets and marionettes and popular art are traditional forms of
popular expression that have enabled people to transmit wisdom and values from one
generation to the next.

From the Lima Declaration: pledged to promote by the most imaginative and practical means
the indigenous production of news, messages and programs as well as their use, exhibition
and distribution to struggle for the just and self-evident goal of establishing real public
services and to stimulate broader and better communication services, promoting in particular
participation by women and ensuring, as well, the presence of every sector of society,
including religious political, ethnic and other minorities.

Revival of traditional media because: Communication creates community, participatory,

supports and develops cultures, there has been reluctance to focus on meetings, dances, songs
and drama, etc, affirms people’s identity.

Remember: integrating traditional and modern mass media (service each other and both are
important) and modern media function as supplement to traditional media.

Goal: Emphasize both “education for media” through its project on media literacy education
and “media for education” by utilizing traditional and modern media for classroom and
training instruction.

The integration of modern media as supplement to the revival of traditional media for the
enhancement of critical and discerning stance on the contents of the messages presented to
media readers, listeners and viewers within communities through media literacy education.
Workshop Goals:

1. Develop within the participants a critical audience of all forms. In viewing, any type of
media content – works of art, printed news and publication, broadcast programs on
TV/radio and films.

“Critical audience – confronted by all forms of media content, audience must have the
ability to evaluate and judge these contents based on their own set values, beliefs and
outlook in life and be ready to question, reject, accept the values and ideologies

2. Network and cooperate with your community (encourage the setting up of local theatre
group) in terms of helping in the solution of community problems as youth of today.

3. Network with other theatre groups for future collaborations.

Workshop Objectives:

1. Introduce the TBCMP Group Study and Theatre Program and the concept of literary

2. Develop basic skills in contextualizing literary forms within the participant’s locality
(application) with the help of theatre functioning as motivation.

3. Form a local theatre group that can be used in times of need readily available to the

4. Help TBCMP in developing the concept of literary dialogue and the group study and
theatre program by suggestions through the evaluation.


Ice-breaker questions: practicing your English and spontaneity in expressing oneself.
In-depth analysis and contextualization of folk literature. (Practice for critical skills)
Content analysis of media artifacts – works of art, ads, songs and TV/radio programs.
Meditation and reflections.
Literary dialogue: discussion, dialogue, presentation and debate/ panel discussion,
critiquing, alternative ending solutions.

Group Study and Theatre Program

Teatro’t panitikan@titusbrandsma
Formation of a group like the pelikula@titusbrandsma but concentrating on literary dialogue and


 Organized by the Group and Study Program of Titus Brandsma Media.

 Community and school-based activity
 A weekly session of dialogue, sharing and critical analysis of oral media content
such as folklores, legends, epics, myths, short stories, poetry and proverbs.
Discussion will include sharing of experience, relevance and application in
present day situations (family, community and society)
 All forms of ORAMEDIA
 Theatre: play/drama, dance, use of musical instruments, singing/ballads
 Socio-cultural activity rather than play-acting for entertainment.
 Appropriate method for studying and analyzing their problems.
 Theatre is a lived experience.

 Folk media (theatre included) are comparatively cheap. They do not have to be
imported and therefore involve no foreign exchange, a scarce commodity except
for oil kingdoms,. They belong to the community and not to individuals, state or
private/public industry. There is no threat of cultural colonialism and foreign
ideological domination.

 As an indigenous form, theatre helps further cultural explorations into the psyche
and value systems of a people.

 Folk Media are not quaint relics of the past but vigorously active and highly
functional cultural institutions performing functions vital to the well being of
society: they provide entertainment, disseminate information, inculcate socially
accepted norms and values and perform a general socializing function.

Target Groups

 Small community theatres within BCCs and barrios

 Theatre groups in schools
 Local theatre group within area (PETA)


 Need for critical analysis of all media content, not only electronic media such as
radio, film and television
 Appropriate time for appreciation and contextualization.
 How to use this indigenous literary culture into something useful which help
people manage their life and develop their principles and attitudes in life.
 Enable people to appreciate indigenous culture.
 Form of media education which develops critical stances through analyzing,
interpreting these literary pieces.
 In theatre: it is another way of affirming life’s lessons and convictions.
 It appeals to the senses of the audience, touch their emotions which enables them
to reflects on life and enjoy its simplest pleasures. It gives them an immediate
capture of into life’s social, economic, spiritual and moral underpinnings through
realizations depicted in the drama/play.
 Develop new ideals and positive worldviews.
 How to best employ folk media in community development?
 Recognizable vehicle for social education and consciousness raising.
 As an educational tool, theatre can help deepen the powers of comprehension and
memory. If the people are involved in creating plays their understanding of the
issues can be deepened.


 It can help initiate an action-reflection-action process, which can lead to change.

 It can illuminate issues in simple, direct and challenging way.
 If it grows out of the community it can reflect the community with a high degree
of accuracy. This helps the people to identify instantly with the issues presented.
 Indigenous facilities are to be used; thus technical facilities and costumes are not
 Since its structure is simple it can be managed by one and all. Literacy and high
technical skills are not necessary for this form of theatre.


Prepare: Materials to be used for the month (legend, fable, short story, “kwentong bayan”,
poetry and folk literature)

Mini play or drama of the chosen literature for the week.

Processing: Post-performance discussion (PPD). This would include sharing of experiences
based on the values of experiences presented in the play. Identify community
problems that can best relate to the play.

Included also in the processing is to prepare alternative story endings that would
possibly respond to the problems of the community. This will be in the form of
again a mini play to presented on the second week session then to process it again.

This would serve as a problem solving exercise for the community wherein all are
given a chance to participate.

Sample Routine:

Two Literatures in a Month

February: The Legend of Mount Apo
A famous short story of the province

1st week: Presentation of mini-play of the The Legend of Mt. Apo

Processing or PPD
2nd week: Presentation of min-play with alternative story endings
Processing and must come up with a strong conviction/affirmation
about life or a certain community problem.
3rd week: Presentation of mini-play for the second literature for the month
4th week: same routine

Literary Dialogue

Contextualize the literary piece for daily use. Evaluate the literary piece according to your
own set of background and find out if the literature is promoting right/wrong values.
(Example: “Moodal Viduthailai” – liberation from superstition)

I. Folk Media

Modes of communication that are capable of producing social change on a scale, and at a
pace, different from those associated with the mass media.

Criteria: indigenous, low cost, accessible to people, capable of being managed by them,
participatory, capable of influencing consciousness and raising awareness, using minimum
and appropriate technology and producing change that is self-generated or endogenous rather
than externally directed or exogenous.

Folk Media means and ways:

Technical Means Persons

Storytelling opinion leaders in different fields

Songs speaker
Gestures story teller
Rituals, cults, myths (town) cryer
Drama including mime and puppetry headman
Drums for signaling, message-giving and “taking” hornman
Dance poet

Places Places
(geographical) (in time, life cycles or course of the year)
marketplace initiation rites
streets and street crossing marriages
forums and assemblies burials
religious institutions customs related to planting
voluntary groups or cooperatives & harvesting
selling & exchange for rainy & dry
seasons or fiestas

Traditional Means of Communication

 Dance  Praise singers

 Rituals  Meetings
 Drama  Songs
 Story-telling  Popular theatre
 Ballads  Drums
 Chanters  The gong

People’s communication or popular communication – communication systems or forms

that are put together by local groups in the course of their struggles to achieve fuller life. An
essential element of such systems is that the local people are constantly in control of them.
Such communication systems may combine traditional forms and modern technology-based
communication tools, but the people remain in control of them.

Manila Experience – Laguna de Bay fisherfolks (Cavite, Laguna and Rizal);

Communication strategy utilized: ALON newsletter, CALARIZ (organization), Sound slide
production, seminars on editing, press conferences, internationalized grievances, small media
(photos, posters and cartoons), creative writing classes, drama “KATAKOMBA”,
mimeographed newsletter “ANG BANDILYO” (town crier)

Learning: traditional forms of communication are by themselves not generally capable of

producing social change on any noticeable scale. However, traditional forms can be
harnessed for effective social change when adapted and backed by a strong motivation and
social consciousness (awakened consciousness and social impetus).

“Why theatre when mass media hold all the possibilities?

1. Theatre is a lived experience – audience participation (intimate feedback) and

involvement in the process of making the story alive.
2. Theatre is indigenous to the rural masses.
3. As an indigenous form, theatre helps further cultural explorations into the psyche and
value systems of a people.
4. As an educational tool, theatre can help deepen the powers of comprehension and
memory. (understanding of the issues can be deepened)
Three Forms of Active Participatory Theatre

1. Simultaneous Dramaturgy – social issue; main problems raised, reached a crisis and need
a solution; actors stop the performance and ask the audience to suggest solutions;
audience intervene, writes the scenario on the spot which the actors then perform
following the audience’s suggestions.

2. Image Theatre – everyone involved is asked to express their views on a topic of common
interest, without speaking, using only the bodies of other participants to sculpt groups of
statues in such a way that opinions and feelings become self-evident; creations by others
are accepted and then the final form is studied by all; ideal form, new image (exact areas
of change are observed); exercise in carrying out change in one’s society.

3. Forum Theatre – present a play about social problem; people are asked if they agree with
the solution presented, various opinions are expressed, the play is presented again, but
this time the people are invited to intervene and change the action of the play; evokes in
the people a desire to practice in reality the act they have rehearsed in theatre.

(usual theatre “bourgeoisie” is a finished theatre in which images of a complete and

perfect world are presented)

II. Introduction to Basic Literature



Poetry – any kind of metrical composition

Narrative poem – tells a story (epic, metrical romance and ballad)
Epic – long narrative poem dealing with the exploits or adventures of a hero,
written in a noble dignified tone. (The Iliad and the Odyssey)
Ballad – shorter form of narrative poetry which developed among the masses
during the middle ages. (hate, love, jealousy, revenge – tragic)
Metrical Romance – shorter than an epic but less dignified; characters are high
born (knights, ladies, kings and queens)
Metrical Tale – short narrative in verse on any subject (counter part of modern
short story, Canterbury tales)
Lyric Poetry – fairly short, expresses the feelings and thoughts of a single speaker in a
personal, subjective fashion
Ode - grand poem, a full-dress poem
Sonnet – ‘little sound’ or ‘song’
Elegy – epitaphs, commemorative verses and very often there was a mourning
strain in them
Simple lyric – anything that does not classify under the three previously
Dramatic Poetry – the poetic form is used to set forth life and character through the use of
dialogue and action
Poetic play
Farce – comic drama (exaggeration, slapstick)
Dramatic Monologue – one character speaks out throughout

Prose – literary works in ordinary non-metrical form. It is written in the language of

everyday life. Prose is divided into: prose drama, essay, prose fiction, (novel, short
story), biography, letter, diaries and journals, other prose forms (travel, historical prose,
scientific prose, literary criticism and book reviews. (Portrait of the Artist as Filipinos).

Essay – short piece of expository prose which attempts to shed some light on a restricted
subject of discussion

Short Story – compressed and rapid often bringing into focus a single event dealing with
a single outstanding character. (Edgar Allan Poe – The Cask of Amontillado)

Autobiography – record of a person’s life written by the person himself.

A Visit to the Caraga Folk Literature

1. The Great Giant
2. How Lake Mainit Came About
3. Agasan or Where the Water Flows
4. From Solibao to Surigao
5. Bien Vista

1. The Snail and the Shrimp
2. Why he is called Datu
3. The Short Lived Volcano at KM. 2
4. The Mantaring of KM. 2
5. The Enchanted Cave
6. Engkanto
7. Santilmo
8. Locring’s Strange Sow
9. Logger No More
10. The Fisherman’s Secret
Questions posted:


(5 points each)

Assignment: Research for a mindanawon story (legend, poems, myths, short stories)
Bring a malong, banig or anything that you can lie yourself with for tomorrow’s
activity and coloring/art materials.

Second day

III. Media Content Analysis

Activity 1:

Watch out! What questions to ask in analyzing media content!

Media comes like a thief in the night!
(1 hour)

A. Questions to be asked:

Initial impressions about the presented contents
What do they mean to you?
What symbols do you see that mean something to you?
What values, ideologies are highlighted in the content?
What does it do to you as person?

1. Art – paintings, photographs

2. Media – ads, songs, TV programs (Marina/Mulawin), a scene in a film

(5 points each)

B. Same questions different contents to be presented in a creative presentation.

(20 points/group)
(30 points/creative presentation)
IV. Contextualizing Folk Literature

Activity 2:

The Best of Lola Basyang

Stories Presented:
The Forgotten Princess
The Handsome Tailor
Pedrong Mabait
(1 hour)

Group Discussion/Sharing
What are the lessons you have learned in the story?
Application: contextualize the story based on your set of values, ideologies, psyches, outlook in
life and you own realities. What do you think are the lesson in which we can learn from and
apply in life.


(20 points/group)

V. Logic and Imagination: Practice in writing your own scenario

Dream Getaway! An activity on enhancing your imagination

(45 minutes)

Practicing your creativity:

Intro: Music (Vespers)

Find a nice, clean spot where you can lie down. When you have found the place, settle yourself
and be aware of all the sounds around you. Then, slowly, close your eyes. Slowly, make yourself
in tune with your heart only your heart. Listen to its beating. Leave behind all the sounds you
hear – the tricycle motors, sound from the radios, children playing, neighbors chatting, tolling of
the church bell and all others. Concentrate on your breathing and the beating of your heart. Then
from afar, amidst the darkness you see, there’s light! You go towards that light. . . .what did you
see? Is it your perfect dream getaway? How does it look like? (ten minutes) . . .

After ten minutes. . .

Slowly, open your eyes, breathe deeply and start standing and going back to your original places.

Discuss your dream getaway in a drawing.

(15 minutes)

Presentation of drawings in class.

(2 representatives in each group)

(10 points each)

Activity 4:

Practice: Oh no not my socks!

Children’s Stories. Form the stories logically.

(45 minutes)

A. Stories with words
(Sarap Pumasok sa Paaralan)

Time Pressure: ten minutes

Scenes from the book are posted on the walls of the venue. Arrange the scenes into one logical

(20 points/group – participation)

(50 points – group with the nearest story in the original story)

B. Picture stories
(I don’t like to eat)

Time pressure: ten minutes

Each group will be given 2 scenes from the story and try to come up a story out of it. After ten
minutes, the groups will try to connect the scenes and come up with the story.

(20 points/group)

Third day

VI. Literary Dialogue

Activity 1:

Back to your Roots! Reading and understanding your folk literature.

Practice contextualizing, critiquing and evaluation
Stories Presented:
From Ancient times to 1564 - A Brave Boy! (A Manobo Tale)
Spanish Regime 1565-1898 - Pag-ibig sa Tinubuang Bayan
The American Period – On A May Afternoon
Under the Japanese Rule – Gumising ka Kabataan!
The Beginning of the Republic - The Little Lizard
Rage, Rage ’70 – Macli-ing Dulag
Contemporary Writing – Full Moon Over Mt. Diwata
(1 ½ hour)

Each group will be assign one story. They will analyze, contextualize the story they have.
Include some knowledge about the story in case they have or history. After 30 minutes of
discussion, they will be forming a panel opposite another group. They will present what they
have discussed and the other group after. Then, they will question each other based on the
readings and presentation they have. If debate occurs, then it is most welcome.

Activity 2:

Myths and Legends. Back to your roots part 2!

Stories Presented:
Tuwaang, Hero of Kuaman
Our Lady of Dinagat
The Legend of Pedro Matabat
The S’iring
Mindanao: the Origin of its Name

The Bukidnon Ascension to Heaven
The Creation of the World
Why the sky is high?
The Origin of the Stars
The Legend of Libungan River
The Legend of Lake Pinamaloy
The Legend of Diwata Mountains
Thunder and Lightning/Rainbow

Each group will choose a legend or a myth. With its supernatural characters and superstitious
beliefs of myths and legends, the group will try to contextualize the story and discuss it within
themselves the values presented in the story. Then they will try to modify the story and create it
to fit the modern setting. The story may change but the essence or the meaning that the story is
trying to convey remains. They may change the scenes and characters into modern day

In-depth discussion
Presentation into a role playing (various forms like interpretative dance, drama/role playing, talk
show, debate are all accepted) will be done the next day.

Critiquing of the presented play (content-wise) will also be done. Each group will have to come
up with alternative solution endings after they have watched the play.

Fourth Day

VII. Group Study and Theatre Program: Application

Presentation produced from the Myths and Legends.

Each group should watch and critique the other group’s presentation. Each should have
alternative solution endings based on the presented issues, values on the play. The group who
performed will choose among the other groups the alternative solutions that they best liked and
perform that suggested solution.

(20 minute-presentation)
(20 points/group presentation)
(30 points/chosen solution ending)

Fifth Day

VIII. Group Study and Theatre Program: More Practice

Present the solutions chosen in a performance (only the ending).

(20 minute presentation)

(30 points/group presentation)

Activity 1:

Choose a folk literature story. Transform the story to any form you would choose (poem, epic,
narrative, short, essay, prose) using any form of creative presentation. You are allowed to modify
the literary piece – scenes, characters, events – anything that feel should be changed.

You should come up with a presentation showing the issue that you are able to find from the
literary story which will be beneficial you think for your community and the people.

The 20-minute presentation will be done the following day.

Sixth Day

IX. Applying your own Folk Literature Stories

Presentation of the folk literature story.

After the presentation, the group will explain the alterations made in the story and its relevance
to their community.

(20 minutes/group)
(40 points/group)

Practice for the Culminating Activity.

Seventh Day

Culminating Activity
1 PM (Social Hall)