JEREMIADIC ANALYSIS OF THE NATION'S BECOMING ON THE PLAY KAHAPON,

NGAYON, AT BUKAS

Prepared by: Nhonnie Jean Mayores

IntroductionThe Jeremiad

The concept of Jeremiad is devised from the biblical

prophet Jeremiah who prophesied the coming downfall of

the kingdom of Judah. He gloomily denounced Israel for its

religious and moral iniquities, and called on to his favour.

Finally, the speaker offers a prophetic vision of what is to

come if they repent and reform (Murphy and Bercovitch

1978)

There are two versions of the jeremiad genre;

the traditional versions serves to confirm

hierarchy and fixed positions in a settled society.

Traditional jeremiad unleashes a torrent of

guilt upon its audience by depicting a static

society. Condemned to fall perpetually from its

mythic roots. While the reformist version of

jeremiad adds a dimension of progress, i.e. the

hope of public improvement (Bercovitch 1978)

Jeremiadic Rhetoric

Jeremiadic Rhetoric has been said to be a

distinguishing construction that exchanged with

cultures and governments to aid in shaping of

an idyllic society. Every group, nation, or culture

that has met the hands of oppression,

imperialism, or colonialism-in whatever forms,

shapes, and fashions devise a way to achieve

social change (Willie J. Harrel Jr. 2008).

Maria Miller Stewart, 1831-1833 Harell shows how Stewart discussed the

growth and development patterns of Jeremiad as a means of achieving civil liberties and equality for its constituents when delivered by prominent Black Women Jeremiahs of nineteenth-century America. In his study he presented that the rhetoric of Jeremiad can aptly be applied, then, to Stewart’s discourse of dissent as she blatantly attacked the moral fabric and effects of slavery and racism in America, making her Americas preeminent Black Woman Jeremiah.

According to Jouni Tilli (2012) it is important

to note the relationship between the

individual and the community in jeremiadic

typology. He talks about the salvation which

is concerns to the welfare of the people, and

thus the responsibility of the individual

coincides with the responsibility of the whole

people.

Kahapon, Ngayon at Bukas

It was first presented on Teatro Libertad in Manila on May 14, 1903 and its focus is the triumph of Inang Bayan (motherland). It is anti-imperialist play attacking the new colonizer that time the Americans, while not forgiving the old ones Mother Spain and Old China, who want to feast on the Philippines wealth (Noel Sales Barcelona, Bulatlat 2009).

The drama was originaly written in Tagalog and then translated by the same author inKapangpangan, which he called Napon, Ngeni at Bukas ( Kahayon and Zulueta 2000).

The drama was written by Aurelio Tolentino during the

American period thereby, considering it as part of

postcolonial literature. And postcolonial perspective

according to Homi K. Bhaba, formulate critical revisions

around cultural differences, social authority, and

political discrimination in order to reveal the

antagonistic and ambivalent moments within the

rationalizations of modernity. This criticism also bears

witness to the unequal forces of cultural representation

involved in the contest for political and social authority.

Characters Inang Bayan

( Philippines) Tagailoi (Filipino

Tagalog) Haring Bata ( Chinese) Dilat na Bulag (Spain) Matanglawin (Spanish

Government) Malaynatin ( American

Government)

Masunurin (Filipino Girl/Women)

Walang Tutol (Filipino Men)

Asal Hayop (Filipino Traitor)

Dahumpalay (another traitor)

Bagong Sibol ( America) Halimaw ( Friar)

Three Acts KAHAPON – were presented in the FIRST

ACTTagailog leads an armed revolt that drives

away Haring Bata. Ngayon – showed in the SECOND ACT

Tagailog is imprisoned for insulting Dilat-na-Bulag, but is able to escape, leaving behind a corpse intended to be mistaken for a dead Tagailog.

The deception is able to throw off Tagailog’s

enemies, and he is able to organize a revolution

that overthrows Matanglawin.

Bukas – THIRD ACT Likely project a positive future

of Inang Bayan from the American Government

Bagong Sibol and Malaynatin who had come to

offer friendship even as Tagailog and his men

were still fighting Matanglawin, turn out to be the

enemies of the Filipinos, just like Haring bata and

Dilat-na-Bulag

Inang bayan plead a crowed of children to ask Bagong Sibol for freedom and the latter he prophesied to relent. The play concludes with general rejoicing among the Filipinos.

Analysis of Inang Bayan Inang Bayan simply symbolizes the country

Philippines. The play presented her character like a maiden being serenaded by three different foreigners who were seemingly captivated by her enchanting beauty. And Inang Bayan welcomed those Strangers warmly. However, after some time the strangers whom she entrusted for friendship grew greedy and selfish. Somehow she was betrayed not just by her own blood Asalhayop and Dahumpalay but of the strangers who abused and oppressed her and her children (The Filipinos).

The situation seemingly shows a “BATTERED

WOMAN” with the abused Children who were

thirsty and hungry to be free from slavery.

Also the play presented the Filipinos love for

freedom and concern for the motherland.

A sketched of the typical Filipino men, and

women were also directed creatively in the

scenes and in different acts.

Conventional Women who followed very well

without objection, and the Brave Men who

fearlessly fight in the battle.

A mother who wish no harm for her children, and

occasionally reminds them .

Oppressors from Western countries who made

them slaves in their own land, having the power,

and the capital to do so. But who are truly afraid

of the Filipino who are not really barbaric and

hoodwink.

Three Historical period of colonialization

Spanish Colonial Period (1521-1898)

· • Filipinos during the Spanish colonial rule enjoyed very limited rights and freedoms since the colonizers, i.e. both the State and the Catholic Church, viewed and treated them as subjects,barbarians and savages. The Spanish colonizers throughout the period of colonization imposed numerous exploitative and unjust rules and requirements which affected the economic, political, and social dimensions of life of the native population

Philippine history under the American colonial rule is replete with events demonstrating the people’s struggle to assert and defend their rights and freedoms in the midst of massive military campaigns of repression, laws against sedition, and other coercive measures to ensure stability of the colonial social order.

Japanese Occupation (1942-1945) · • Under the Japanese rule, Filipinos lived in an

atmosphere of fear, prejudice, uncertainty and repression. Civil liberties were curtailed and abuses were committed by the members of the Japanese Imperial Army and the Kempetai (Military Police).

The Japanese colonizers made clear their rules

and policies which if violated would entail

serious reprisals or punishment. Among the

rules imposed were: the occupying forces should

not only be respected but also obeyed without

question; locals were to be friendly to Japanese

military personnel and civilians; and disturbing

the peace and spreading rumors were acts

punishable by death (Constantino,1978, p. 56).

Jeremiadic rhetoric and the Play

The Jeremiadic rhetoric implies a social movement in order to shape the community with the agent of self and social improvement. And this could be used in analyzing the play, to interpret the new forms and shapes of oppression. Thereby finding the agent, individual or collective that enforce activism in our social and political context, from the relation of the present to the past social realities and for the futuristic becoming of Inang Bayan.

Assumption the bukas echoed by the play is continuum, and

the goal to achieve a positive future of Inang Bayan is a none stop struggle. The new forms, and shapes of oppression are stiil visible. And the people are still resisting to be hoodwinked in our social conditions and political struggles. Inang Bayan’s voice is merely echoeing within the land. And she is always calling for her children to act for her. The untrustworthy liberators are now wearing a different mask inside and outside the government.(politics, capitalism, etc.)

THANK YOU !!!

HAPPY V-DAY!

“Be aware, Be conscious”