Enhancing the Teaching Identity of School Librarians
Through Developing a Reading Program
with Philippine Literature in English (PLE) as Subject Content
By Roderick B. Ramos
De La Salle University-Manila
roderick.ramos@dlsu.edu.ph
INTRODUCTION
“A librarian has to cope with traditional viewpoints of other practitioners about his profession
which does not exclude main clientele of his time.”
During orientation, a 35 year-old college student of DLSU-Manila asks, “Mr. Ramos,
what do you do as a librarian?”
The clientele, actually inquire on what else do you offer as someone who is serving each
of them for 40 hours a week. They tend to ask for more than what they ordinarily witness from
day to day in schools. It is expected that what they know about librarians are simply based on
their own generalizations brought about by each encounter with school librarians.
But what could possibly transform one into a fulfilled and productive school librarian
who is being looked up to in the digital age?
This paper presents primarily experience-based inputs with programs and activities that
would enable school librarians to achieve a good image as managers of an indispensable venue
of learners‟ acquisition for knowledge and pleasure as well. Also, this paper attempts to assist
school librarians in the discovery as well as pioneering the New School Library Organization for
Global Philippines.
Directions for the Future of School Libraries allows participants to bring out more
creativity as they evaluate and apply tools, methods, and techniques in becoming more fruitful
1
and getting clientele‟s approval in the workplace.
These tools, methods and techniques
discussed spontaneously as the lecturer encourages everyone to relate discoveries and insights,
which will consequently, be related to office predicaments.
In enhancing productivity among school librarians of the future, the lecturer will talk on:
Enhancing the Teaching Identity of School Librarians
Through Developing a Reading Program
with Philippine Literature in English (PLE) as Subject Content
This, primarily, focuses on raising the librarian‟s teaching identity and on introducing a
reading prototype model program utilizing Philippine Literature in English (PLE) as contentbased teaching portfolio of school librarians.
PURPOSE
There is a need to enhance the teaching identity of school librarians for the future. What
does this mean? For example, Under 3.2 Commitment for Standards of Professional Excellence
for Teacher Librarians, Australian Library and Information Association (ALIA) and Australian School
Library Association (ASLA), excellent teacher librarians foster a reading culture through the active
promotion of literature. (Retrieved on January 2, 2012, from http://www.asla.org.au/policy/standards.htm)
The role of fostering a reading culture through the active promotion of literature must go beyond what
four professors, four universities and four interviews imparted in the You Tube video entitled: Literature
Librarians and Faculty Partnering for Academic Success. (Retrieved on January 8, 2012, from
http://www.youtube.com/watch?v=icxmYxHyDxw). In this video from the ACRL Literatures in
English Section (LES), four professors discuss how working with literature librarians has
enhanced their teaching and research. LES created the video to raise the awareness among
2
university faculty, administrators, and students of the many benefits of the literature librarianteaching faculty collaboration.
Moreover, the commitment involves a mental and practical shift away from the role of
expert and toward the role of teacher or facilitator, and, that, library professional should always
be sensitive to the “teachable moment,” in which he or she may help customers to become more
competent and confident in their own ability to learn (The Teaching Library, Washington State
Library IL Project).
Despite of the school librarians‟ activeness and involvement as information professionals,
the teaching role, outside instruction in library and information skills, necessitates a more
active teaching of literature to children and young adults.
Specifically, the classroom is not the only place where students learn and study. A
library is vital for helping students increase their knowledge and understanding, and to achieve
their academic goals. The librarian is very essential in the collaboration between the library and
schoolteachers in activities that promote reading. Librarians and schoolteachers work as partners
in developing students' curiosity and a lifelong love of reading (Vandersteen, 2011).
With exploitation of multimedia technology, by bringing together an IL model assigning
the use of Philippine Literature in English (PLE) for third and fourth year high schools and
applying some pedagogic strategies, teacher identity on and off campus may be developed
further, making a significant impact on curriculum and instruction.
3
DEFINITION OF TERMS
The following are defined as used in this paper:
Discussion Group refers to informal and voluntary gathering of individuals (in person,
through a conference call, or website) to exchange ideas, information, and suggestions on needs,
problems, subjects, etc., of mutual interest. Discussion groups are one of the mainstays of the
popularity
of
internet
(Retrieved
on
February
6,
2012,
from
http://www.businessdictionary.com/definition/discussion-group.html#ixzz1lZs3CAFF).
Literature Circle is a student centered cooperative learning reading activity for a group
of four to six students at any grade level or subject area. It is more than a book club that
promotes discussion from varying perspectives, which provides members with a deeper
understanding of the text. During the reading of the selected literature, students complete various
jobs emphasizing skills such as questioning, vocabulary development, and writing (Schlick, Noe,
and Johnson, 1999).
Literary Canons refers to a classification of literature. It is a term used widely to refer to
a group of literary works that are considered the most important of a particular time period or
place
(What
is
a
Literary
Canon?
Retrieved
on
February
6,
2012,
from
http://www.wisegeek.com/what-is-a-literary-canon.htm).
School Librarian refers to a professional librarian who performs related library services
- selecting, acquiring, cataloguing, classifying, circulating, and maintaining library materials; and
furnishing reference, bibliographical, and readers' advisory service in a school. He conducts
literature-related programs and activities having in mind the promotion of greater interest in
literature for children and young people. He may or may not have specialization in Literature but
at least possesses a good background on the fundamentals of Literature.
4
METHODOLOGY
Teaching and the School Librarian
Teaching literature enhances professional identity and definitely will answer two major
issues discussed in literature and at professional conferences and/or workshops namely, (1)
stereotype of the librarian (Balling, Henrichsen & Skouvig, 2008); and (2) the librarian‟s
preparation for instruction (Saunders, 2002). The literature highlights the disparity between
school librarians‟ image potentials and the extent of their teaching involvement. The librarianfaculty collaboration becomes possible due to the following reasons: (1) librarians‟ involvement
in curriculum-building; (2) library resources are becoming limitless; (3) increase incentives for
greater participation in school programs; and, (4) teachers and administrators consult school
librarians consistently. According to Forrest (2005), librarians‟ ethical directives point toward a
collaborative effort in providing support for students outside the classroom. This can extend to
external communities and partnerships with educational institutions and public organizations that
surely benefit from the librarian‟s expertise.
Teaching Literature entails effective teaching of a core of knowledge complementing the
librarian‟s technical expertise and other professional competencies. In the case of teaching
Philippine Literature in English (PLE), school librarians will have to be cognizant of specific (1)
canons of literature and (2) teaching styles in order for them to confidently facilitate learning
groups for local literary appreciation.
Canon and Philippine Literature in English (PLE)
According to Montealegre (1991), the choice of the literary selections must be based on
those included in the canon for Philippine literature prepared by Gruenberg (1985) and Critics‟
canon (1987).
5
Gruenberg, in her dissertation, primarily intended to establish a perceived canon of
Philippine literature. The lack of an explicit canon in Philippine literature prompted her to
undertake such a study. She underscored the importance of having “some valid criteria or
standards for choosing the important Filipino writers and works for a comprehensive, relevant
and manifold Philippine literature course.” Gruenberg explained that canons are important
insofar as they “clarify the nature of literary and aesthetic value; they explore multiple forms and
functions of literary evaluation in relation to the conditions in which they are responsive.”
Table 1 shows PLE writers and the literary works in the canon established by Gruenberg.
Table 1 Canon of PLE Established by Gruenberg
Writers
Novel
Aida Rivera-Ford
Alberto Florentino
Alfredo Q. Gonzalez
Arturo Rotor
Bienvenido Lumbera
Bienvenido Santos
Carlos P. Romulo
Carmen GuerreroNakpil
Cirilo Bautista
Edilberto Tiempo
Emmanuel Torres
F. Sionil Jose
Federico Licsi
Espino
Francisco Arcellana
SS
1
P
Essay
1
1
1
Literary Selection
The Chieftest Mourner (SS)
The World is an Apple (Play)
The Will of the River (E)
Zita (SS)
1
The Day the Dancers Came
(SS)
Scent of Apples (SS)
1
1
1
1
1
To Be Free (N)
1
1
1
1
1
Francisco Benitez
Gilda CorderoFernando
1
Gregorio Brillantes
1
Horacio de la Costa
Jesus Balmori
Play
1
1
6
Divide by Two (SS)
What is an Educated Filipino?
(E)
Visitation of the Gods (SS)
Faith, Love, Time &
Dr. Lazaro (SS)
Myths of the Filipino
Businessman (E)
My Nipa Hut (P)
Jesus Peralta
Jose Garcia Villa
Juan C. Laya
Kerima PolotanTuvera
Leon Ma. Guerrero
Manuel Arguilla
Mar Puatu
Marcelino Agana, Jr.
Maximo Ramos
N.V.M. Gonzales
1
1
Footnote To Youth (SS)
1
The Hand of the Enemy (N)
1
1
1
1
What are Filipinos Like? (E)
How My Brother Leon
Brought Home a Wife (SS)
Rice (SS)
1
1
1
1
1
1
1
1
The Bamboo Dancers (N)
Four Values in Filipino Drama
(E)
May Day Eve (SS)
Portrait of the Artist as Filipino
(Play)
Three Generations (SS)
What Signifies Filipino
Expatriates (E)
The Woman Who Had Two
Navels (N)
Montage (P)
1
Dead Stars (SS)
Like the Molave (P)
Nicanor Tiongson
Nick Joaquin
Ophelia Dimalanta
Paz Marquez
Benitez
R. Zulueta da Acosta
Raul Manglapus
Virgina Moreno
Wilfrido Ma.
Guerrero
Wilfrido Nolledo
45
1
1
1
1
Renato Constantino
Ricaredo Demetillo
Rodrigo Perez III
Rolando Tinio
Salvador P. Lopez
Severino Montano
Stevan Javellana
New Yorker in Tondo (Play)
1
1
The Miseducation of the
Filipinos (E)
1
Baroque: The Filipino
Obsession (E)
1
1
1
1
Literature and Society (E)
Sabina (Play)
Without Seeing the Dawn (N)
Batik Maker (P)
Order for Masks (P)
Forever (Play)
1
10
Turn Red the Sea (Play)
38
1
1
1
7
11
9
13
7
The table shows that there are forty-five (45) writers with seven (7) novelists, eleven (11)
short story writers, nine (9) poets, thirteen (13) essayists and ten (10) playwrights chosen as
canon for PLE. Thirty-eight (38) literary selections were selected with five (5) novels, thirteen
(13) short stories, five (5) poems, nine (9) essays and six (6) plays.
The Writers‟ and Critics‟ canon was also established out of a need to find out exactly
what the canon for list of accepted masterpieces of Philippine Literature is. Leading writers and
critics were consulted to compile a canon of Philippine literary texts. They established as a
minimum requirement for inclusion in the canon the intrinsic literary merit (i.e. excellence in
craft, structure, language, as well as depth of insight and breadth of vision) of each work. The
canon attempted to represent major authors, literary periods, literary movements, literary
traditions, and literary genres.
Table 2 shows PLE writers and the literary works in the Writers‟ and Critics‟ canon.
Table 2 Canon of PLE Established by Writers and Critics
Writers
Aida Rivera-Ford
Novel
Alberto Florentino
Alejandro Roces
P
Essay
Play
1
1
Alfredo Q. Gonzalez
Amador Daguio
Andres Cristobal
Cruz
Arturo Rotor
1
1
1
1
Benjamin Pascual
Bienvenido Lumbera
Bienvenido Santos
SS
1
1
1
1
1
8
Literary Selection
The Chieftest Mourner (SS)
Love in the Cornhusks (SS)
The World is an Apple (Play)
My Brother‟s Peculiar Chicken
(SS)
We Filipinos are Mild
Drinkers (SS)
The Will of the River (E)
Wedding Dance (SS)
The Quarrel (SS)
At Last This Fragrance (SS)
Zita (SS)
Social Call (SS)
The Nationalist Literary
Tradition (E)
The Day the Dancers Came
(SS)
Scent of Apples (SS)
Carlos Angeles
Carlos Bulosan
1
1
Carmen GuerreroNakpil
Cirilo Bautista
Doreen Fernandez
Edilberto Tiempo
Edith Tiempo
Emmanuel Torres
Estrella D. Alfon
F. Sionil Jose
Francisco Arcellana
1
1
1
1
1
1
1
1
1
1
1
1
1
1
Francisco Benitez
Gemino Abad
Gilda CorderoFernando
1
1
1
Gregorio Brillantes
1
1
9
Villa Magdalena (N)
Landscape (P)
My Father Goes to Court (SS)
My Father‟s Tragedy (SS)
The Laughter of My Father
(SS)
My Husband‟s Roommate (E)
Where‟s the Patis? (E)
Charts (P)
Parables (P)
Pedagogic (P)
Seagull (P)
Why Sinigang? (E)
The Grave Diggers (SS)
The Heritage (SS)
Recessional (SS)
The Witch (SS)
To Be Free (N)
More Than Conquerors (N)
The Black Monkey (SS)
A Blade of Fern (N)
The Chambers of the Sea (SS)
The Dimensions of Fear (SS)
The Hound (SS)
Un Bel Di (SS)
Definitions for Danny (P)
Rowena, Playing in the Sun
(P)
Woman at the Window (P)
Magnificence (SS)
The God Stealer (SS)
Mass (N)
The Pretenders (N)
Divide by Two (SS)
The Flowers of May (SS)
The Mats (SS)
What is an Educated Filipino?
(E)
Things (P)
People in the War (SS)
The Visitation of the Gods
(SS)
Distance to Andromeda (SS)
Faith, Love, Time &
Dr. Lazaro (SS)
Myths of the Filipino
Horacio de la Costa
Ibrahim Jubaira
Isagani R. Cruz
Jesus Balmori
Jose Garcia Villa
1
1
1
1
1
Jose Rizal
Juan C. Laya
Juan Gatbonton
Kerima PolotanTuvera
1
1
1
Leon Ma. Guerrero
Lina Espina Moore
1
1
1
1
1
Manuel Arguilla
Marcelino Agana, Jr.
1
Miguel Bernard S.J.
N.V.M. Gonzales
1
1
1
1
Nicanor Tiongson
Nick Joaquin
Ophelia Dimalanta
Paz Latorena
Paz Marquez
1
1
1
1
1
1
Businessman (E)
A Canto of Summer
Criticism in the Classroom (E)
My Nipa Hut (P)
Footnote To Youth (SS)
God said, “I Made a Man”
A Poem Must Be Magical
The Indolence of the Filipino
(E)
His Native Soil (N)
Clay (SS)
The Hand of the Enemy (N)
Sounds of Sunday (SS)
The Trap (SS)
The Virgin (SS)
What are Filipinos Like? (E)
And Then the Weeping (SS)
How My Brother Leon
Brought Home a Wife (SS)
Midsummer (SS)
Rice (SS)
New Yorker in Tondo (Play)
Philippine Literature
Perpetually Inchoate (E)
Children of the Ash-covered
Loam (SS)
Hunger in Barok (SS)
A Season of Grace (N)
Four Values in Filipino Drama
and Film (E)
Legend of the Dying Wanton
(SS)
May Day Eve (SS)
Portrait of the Artist as Filipino
(Play)
Summer Solstice (SS)
Three Generations (SS)
What Signifies Filipino
Expatriates (E)
The Woman Who Had Two
Navels (N)
Quija Board (P)
Desire (SS)
Dead Stars (SS)
10
Benitez
Pura SantillanCastrence
1
R. Zulueta da Acosta
Renato Constantino
1
1
Resil Morales
1
1
Rodrigo Perez III
Rony Diaz
Salvador P. Lopez
Stevan Javellana
1
1
1
Virgina Moreno
Wilfrido Ma.
Guerrero
55
1
9
27
10
15
1
5
Aunt Isabel (E)
The Urgency in Today‟s
Living (E)
Like the Molave (P)
The Miseducation of the
Filipinos (E)
Ark (SS)
Baroque: The Filipino
Obsession (E)
Death in a Sawmill (SS)
Literature and Society (E)
Without Seeing the Dawn (N)
Batik Maker (P)
Order for Masks (P)
Half an Hour in a Convent
(Play)
The Three Rats (Play)
Wanted: A Chaperon (Play)
102
The table shows that there are fifty-five (55) writers with nine (9) novelists, twenty-seven
(27) short story writers, ten (10) poets, fifteen (15) essayists and five (5) playwrights chosen as
canon for Philippine Literature in English (PLE). One-hundred and two (102) literary selections
were selected with eleven (11) novels, fifty-one (51) short stories, sixteen (16) poems, eighteen
(18) essays and six (6) plays.
Table 3 Canon of PLE Established by Gruenberg & Writers and Critics
Writers
45
55
66
Novel
7
9
9
SS
11
27
27
P
9
10
12
Essay
13
15
18
Play
10
5
11
Literary Selection
38
102
107
When compared, the table shows that there are sixty-six (66) writers with nine (9)
novelists, twenty-seven (27) short story writers, twelve (12) poets, eighteen (18) essayists and
eleven (11) playwrights chosen as canon for Philippine Literature in English (PLE). One11
hundred and seven (107) literary selections were selected with five (5) novels, thirteen (13) short
stories, five (5) poems, nine (9) essays and six (6) plays.
Teaching & Learning Styles for Philippine Literature in English (PLE)
In reading and interpreting the literary text in terms of ways of looking at literature
(Dones, 2009), the school librarian and students may be fundamentally assisted through:
The Triangle Approach
Literary Work
Writer
Reader
Critical Perspectives on Literature
Categories of Observation
THE WRITER
Kinds of Questions and Comments
The Writer‟s life
Who wrote this?
What kind of person was he or she?
How old was the writer when the poem
was written?
The Writer‟s culture
In what place and time was it written?
What was going on at that time?
What events and ideas were important?
What was the world view?
12
THE WORK
Structure, Techniques
How many parts are there to this work?
How are they related?
What key words, images, figures of speech
are important?
Characters or Speaker
Who is talking here? To whom?
What is their relationship like?
What motivates them?
What conflict do they have?
Ideas, Lessons, Philosophy
What idea or lessons are expressed or
implied here?
What values?
What forces have determined these events?
What are we supposed to learn?
THE READER
Yourself as a Reader
How does it make me feel?
What features of the work stand out?
What in me those features stand out?
What happens to me if I read this?
Your Culture
What is the present world view in the
place?
Where I am situated?
What events and ideas are important?
CONNECTIONS
Historical Perspectives
Does this refer to historical events?
Is it about something or somebody in the
past?
What does this remind me of?
How is it related to other works, storylines,
characters or myths?
Artistic/Literary Tradition
Literary Approaches
Teaching Philippine Literature in English (PLE) involves critical literary approaches
basic to literary study. Table 3 is dependent on them as to how specific titles, genres, and writers
13
will be taken up while variety in the study of chosen literary selections permits both the school
librarian and students to read and learn each of them using different critical literary approaches.
The teaching and learning of literature according to Maramba (1993) can be handled through
seven (7) literary approaches, which were reiterated by Sialongo (2007), on the other hand,
Montealegre (1991) in her study of Philippine Literature in English (PLE) recommended the first
four (4) and are most necessary, specifically, for school librarians who do not have specialization
in Literature. The literary approaches are as follows:
1. Formalistic or Literary Approach
This approach views literature as an intrinsic substance, independent of the author,
age, or any other extrinsic factors. The study of the selection is more or less based on the socalled “literary elements.”
2. Moral or Humanistic Approach
This approach focuses on the discussion of man and its nature. It presents man as
essentially rational; that is, endowed with intellect and free will; or that the piece does not
misinterpret the true nature of man. The approach is close to the “morality” of literature, to
questions of ethical goodness or badness.
3. Sociological Approach
In this approach, literature is regarded as the expression of man within a given
social situation and underscores the conflict between and among classes. The sociological
approach stresses on social “relevance,” social “commitment.”
4. Psychological Approach
Literature, in this method, is viewed as the expression of personality, inner drives,
neurosis. It includes the psychology of the author, of the characters, and even the psychology of
14
creation. This approach has resulted in an almost exhausting and exhaustive psychological
analysis of characters, symbols and images, recurrent themes, and others.
5. Historical Approach
In this strategy, literature is seen both as a reflection and a product of the times and
circumstances in which it was written. It operates on the premise that a history of the nation has
telling effects on its literature and that the piece can be better understood and appreciated if one
knows the times surrounding its creation.
6. Cultural Approach
In cultural approach, literature is seen as one of the manifestations and vehicles of a
nation or race‟s culture and tradition. It includes the entire complexity of what goes under one‟s
“culture” – the technological, artistic, sociological, ideological aspects; and considers the
literary piece in the total cultural milieu in which it was born. The thrust, under this approach,
is to make full use of the reciprocal function between culture and literature. This approach is
one of the most effective ways to arrive at the culture of people and one of the most pleasurable
ways of appreciating the literature of people.
7. Impressionistic Approach
This approach uses literature to explain “reaction-response,” which is considered as
something very personal, relative, and fruitful. Unconditioned by explanations and often taking
the impact of the piece as a whole, it seeks to see how the piece has communicated.
These literary critical approaches, when used by the school librarian, is similar to how
Romero and Eugenio (1997) would want students understand literature as they consider the
development of reading and comprehension skills.
A gradual unfolding approach with
utilization of the art of questioning – series of questions arranged in a psychological-logical
15
order as main ingredient can become obvious in accomplishing one single library discussion
group. It is a dimensional approach when every school librarian‟s hopes have become apparent:
to have inspired every student in extracting meanings from a selection at hand, and to have
enriched the library experience of each, in joining a discussion group.
Library Discussion Group
A typical library discussion group is composed of motivated students and a competent
school librarian. It promises a healthy library experience since the discussion engages both with
specific significant human experiences (S.H.E.) with carefully chosen selections for each
encounter. Here, the school librarian can assist anyone towards self-actualization and growth
through exposure to the sense of values, attitudes, and beliefs depicted in each Philippine
Literature in English literary piece.
An active student-centered approach towards
comprehension of a literary work is highly recommended. (Lacia et al., 2003). This explains
that library discussion group is dependent on questions school librarian will present from literal
level questions (full absorption of story details) to inferential level questions (interpretations,
inferences and speculations) leading to literary work evaluation (literary themes and cultural
issues). Group discussions may be done in either Filipino or English.
16
The learner-centered approach being referred here is similar to what is adopted in
Literature Circles where they involve a small group of students exploring a piece of literature in
depth and focuses on students' responses to the literature they read. In Literature Circles,
students are actively engaged in reading through making choices, discussing, and constructing
meaning. This strategy engages students in higher-level thinking and reflection by encouraging
collaboration and constructing meaning with other readers. These literary discussions are guided
by student insights, observations, and questions. They may be related to the characters, setting,
plot, and author, along with connections to student experiences. Learners often take on a variety
of roles in their group and learn to facilitate their own discussions and projects.
The discussion group and literature circles are elements of a balanced literacy program.
(Theory
to
Practice:
Literature
Circles,
Retrieved
on
January
24,
2012,
from
http://eduscapes.com/ladders/themes/circles.htm).
Dones (2009) said that teaching and learning with Philippine Literature in English are not
only relevant, meaningful, enjoyable but also value-oriented.
Specifically, the enrichment
activities carefully prepared by the school librarian in each library discussion group session
surely improve student‟s reading, speaking, listening and writing skills.
Dones emphasizes school librarian‟s inner desire for students to go beyond the surface
statements to the heart of the experience itself. The discussion group may deliver and achieve
an aesthetic satisfaction in the hands of school librarians while undergoing a library learning
experience.
The experience with literature is “catharsis.” The function of literature, some say, is to
relieve us – either writers or readers – from the pressure of emotions. To express emotions is to
get free of them. The spectator of a tragedy or the reader of a novel is also said to experience
17
release and relief. His emotions have been provided with focus, leaving him, at the end of his
aesthetic experience with calm mind (Romero and Eugenio, 1997).
Lastly, the goal of library discussion groups, like Literature circles, is to attain
enthusiastic, natural and informal conversation that will encourage a life-long love of reading.
Faculty-School Librarian Collaboration
Librarians have to ask themselves and put into action what they plan to accomplish for
the reading public. Faculty-school librarian collaboration is one key to assist library reading
programs by letting library personnel actively interact with clients – thus changing the image of
the librarians.
It is anticipated that both faculty and school librarians will be willing to collaborate. The
school librarians do not only have the students in their mind but also think about teachers and
their classroom practices. Teachers always have the enthusiasm to teach while the school
librarians know a part of their frustration in terms of finding appropriate print and non-print
materials for their students, curriculum inclusion and implementation as well. School librarians
do not only reply to inquiries about what library materials would appeal to their students but
they can also act, and perform, outside instruction in library and information skills, which is
a teaching function that engages students in library discussion groups to participate more
actively.
The regular sessions of students with school librarians allow teachers to allot time over
reading the newly purchased library subscription journals, explore e-book impact on her
teaching methods and/or listen to a short, new lecture-talk series available in one of the many
sites
of
Gale
Virtual
Reference
Library,
http://find.galegroup.com/menu/commonmenu.do?userGroupName=dlsu. Teachers would not
18
even mind considering the library‟s offer of a cup of coffee and cookies in front of a television
newscast. Since a teacher is constantly busy, having a little special opportunity, though it may
seem odd at first, is refreshing and a delight!
According to Santos (2012), non- education majors which include school librarians can
teach a subject provided they attend teaching seminars with sessions adopting the Department
of Education‟s Understanding by Design (UBD). The University of the Philippines was the
recent venue for the Department‟s seminars on UBD approach. The said approach does not use
a single material or textbook for the teaching of Philippine Literature in English. Teachers are
advised to consult a wide array of reading materials including those previously used as
textbooks. Santos relayed that the number of chosen Philippine Literature in English literary
selections for discussion is limited and it depends on what the Department recommends. She
added that Philippine Literature in English is integrated to English language class and taught
only to first year high school students, while subjects like Afro-Asian Literature, American
Literature, and World Literature are taught to second, third and fourth year high school students,
respectively.
Navarro (2012) mentioned that Elizabeth Seton School, a private school in Las Piñas,
also uses Understanding by Design of the Department of Education with eight (8) Philippine
literary selections per quarter being taught to first year secondary level only while Colegio de
San Juan de Letran-Manila, http://www.letran.edu/highschool/hs_curriculum.php, has the
different literatures integrated to Grammar & Composition English classes of its the High
School Department.
Chavez (2012) made mentioned that the Department of Education provides a manual only
for the use of Understanding by Design. There is no prescribed book nor textbook. She added
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that it depends on the principal if s/he will accept non-English majors to handle literature
classes.
According to Valois (2010), fourth-year high school students of Famy National High
School in Laguna did not have enough exposure in learning Literature because the book they
used entitled Moving Ahead in English published in 1999 which was framed on integrative
approach hence, mastery of the four macro skills were emphasized throughout the year. The
lessons they had in Literature were a mix of World Literature, Asian Literature and Philippine
Literature given after each lesson. Their exposure on Literature was not based on a solid
foundation because the focus was more on language and not on Literature. Out of seven lessons,
one was only given to Literature with questions focusing on the moral or didactic lessons. The
students themselves looked at Literature as springboard lessons to language lessons without
value for it as an art.
He added that the two teachers assigned in teaching the fourth year were disappointed
with their students not paying extra effort in Literature. One teacher was BSE major in English
graduate from Union College of Sta. Cruz, Laguna and the other one had units in Education
with a Bachelor's degree in Accountancy. Both teachers seldom attend seminars on the recent
trends and issues in teaching Literature because of the scarcity of financial support from the
school. Hence, their knowledge and strategies were based from their old undergraduate schema.
Faculty and school librarians can help one another. Students may have extra enthusiasm
reading a poem with non-classmates initiated through a reading program held outside the
classroom. With unique rewards and incentives, the school librarians can stimulate a student to
produce an inspiring paper. The library becomes an environment between and among the
program‟s participants where access to resources (electronic and non-electronic) for day-to-day
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concerns can connect to their lives and the Philippine Literature in English literary selection
being discussed at hand.
Short story appreciation is enhanced through incorporation of available technologies.
Blogging, specifically, is creative and 2.0 writing. Blog is short for weblog. Students may
frequently update publication of their comments and thoughts on the web.
Usually, it is
reflecting the views of the blog‟s creator. Blogs consist of text and images and are sorted by
date. The newest information is on the top and there is an archive of the old one. People create
blogs to share their thoughts with the world. A person writing in the journal is called a „blogger.‟
Bloggers write about different topics: from the typical daily situation to the progress of some
scientific researches.
The readers can also leave comments making the whole blog more
interesting and useful (How to Create a Blog Site, Retrieved on January 24, 2012, from
http://www.siteground.com/tutorials/blog/)
As soon as students feel the right moment, they can write. The discussion room in the
library is expected to be equipped with hardware, software, etc. to teach and learn fiction beyond
spaces and on World Wide Web. Discussion groups exploit the Web. Search engines allow the
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students to look around for online resources related to the theme blending them with print copies
of the novel. Surely, the library discussion groups with Philippine Literature in English as its
content entice students to perform sophisticated thinking activities towards reinforcing the belief
in the dignity and worth of the Filipino as a human person with the sense of national
consciousness and pride in our national heritage (Marbel, 1999).
Similarly, the Filipino student must turn to Philippine literature to understand twenty-first
century Philippines in order to be a dynamic participant in Philippine society. How does he
explain a society in perpetual crisis? How does he situate himself in such a society? From the
texts, the Filipino student will hopefully understand himself as he understands the Filipino in the
texts: Filipinos shaped by social elements such as religion, culture, family, government, armed
forces and the economy (Sicat & Rivera, 2004).
The Proposed Reading Program
Rationale & Objectives: The proposed reading program is innovative and advanced.
CHED in its CMO no. 59, S. 1996 mandated the teaching of literatures of the Philippines
(Philippines and World Literatures, 3 units each). This CMO aimed primarily to help the
students “see the human being as an integral person living in both a national and a global
community.” Non-college enrollees will benefit from acquiring the effective uses of imagination
and creative thinking, positive values through library discussion groups, and realize the richness
and impacts of literary selections in preparing them for their roles in the Philippine society and
the global society as well.
As early as now, students will be able to inquire and answer
responsibly to questions like: Is it necessary for both men and women to have equal access to
rights and freedom? They will relate: What men get, let women get it, too!” They can be asked
to explain the status of women exemplified by Madulimay and Lumnay in the short story
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“Canao” or The Wedding Dance of Amador T. Daguio, considering the kind of tribal customs,
the society they belong, and the culture they embrace.
The library discussion groups will be platforms for high school participants to prove that
there are still “Molaves” in the generation of young Filipinos today. Also, it is noteworthy to
decipher how each will narrate a story of a human conflict and analyze its relevance and
truthfulness to human beings as a human experience. Yes, the literary selections will provide
meaning and actualization for mankind‟s directions including program participants.
Content: Philippine Literature in English (PLE) selections derived from results presented
in Table 3 Canon of PLE Established by Gruenberg & Writers and Critics.
Strategic Teaching Plan Goals: Based from the formulation of objectives made by
Montealegre (1991).
a. to further enhance the students‟ ability/skill to read, think, discuss, and write critically
in literature;
b. to provide students some necessary experiences, background, information, and
knowledge which are relevant to the study and understanding of a particular literary text; and,
c. to provide students more opportunity to play a more active role in the teaching and
learning situation.
Strategic Teaching Method/Activity: Activity-based Library Discussion Group
The library discussion group is an open group and anyone who is interested in reading
and discussing Philippine Literature in English is welcome.
Interested individuals are not
expected to attend every meeting and the library people are glad to entertain newcomers. They
can also meet regularly to socialize and plan future meetings or events.
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Sample Discussion For: In Painful Memory of a Savage Town by Florentino Dauz
Too small for a vagabond like me
San Leonardo, you are a savage place
And I kept on returning every year
I kept on returning.
I have no friends there
No loved ones to speak of
I only have the painful memory of a child
Used to its terror and the dread of its merchant.
School Librarian
What central idea(s) have you
found out?
Discussion Group Participants
The poetry speaks of a place that is labeled as savage because a
certain child happens to have an ill-feeling towards San
Leonardo.
It conveys a PERSONA who sentimentalizes, recalls what
occurred years back. He remembers an experience, a tragic
one he does hate. The poetry reveals the attachment of San
Leonardo to a man whose basic exposure is unfavorable.
Is the central idea POSITIVE
or NEGATIVE? Has it been
displeasing/pleasing the
persona
The central idea is negative since it disturbs the man from time
to time. The man is fainted whenever he visits san Leonardo
and somewhat uncomfortable in telling the readers that he has
no friends and loved ones at the place of San Leonardo.
He is displeased in bringing back unconsciously his past. He
could not help but re-picture unsaid difficulties when he was
still a child.
It is positive. The man is given the opportunity to contemplate
and be blessed with what he is now. This is significant to
anyone who has aged and earned enough strength from life‟s
encounters.
The persona is also pleased. He may have been bitter but
forgave those who had transgressed him. He goes back not to
fight back but to tell everyone at San Leonardo that he is a
winner, and that he has survived.
What is this painful memory of
a savage town? Are the details
of the memory stated/given?
Why not?
The poetry does not give details of the memory, but in one
point, one would realize implications from specific lines in the
poetry, thereby serving as clues to the child‟s pain. I would
say that the persona is not sincerely telling us that he has no
friends and loved ones to speak of at the place of San
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Leonardo. He is actually denying them. By doing so, he
senses out a relief not trivially from an awful life not to take
pride about. To him, such is painful, unforgiving, unwholesome.
Probably, the man‟s friends, and relatives are denied because
they might have been culprits of a child‟s isolation.
Abandonment was felt due to unhealthy treatment the child
received from them. He had lived at San Leonardo. He spent
his childhood in the place. Definitely, from the place, he was
with his immediate and closest but they turned out to be his
CONFEDERATES but ADVERSARIES
Does he fight back? Is he at
war with these people?
Yes, he is at war with these people. He dislikes each of them.
He wishes to get even by not recognizing each of those who
inflicted pain in his life. He fights back so consciously.
Without demonstrating it physically. He means to wrestle and
acquire answers and attention without planning it so because
he visits the place from year to year for other purposes.
What brings him to the place
from time to time/year to year?
Has it become pleasant and
favorable? If not, why does he
come periodically? Would this
make any good to him?
It happens to be his hometown? He has to go back and
reminisce because that has always been typical among
Filipinos. It is simply trying to find MENTAL
ACTUALIZATION of things you desire to remember most,
whether such is fine or not.
He is a traveler, a merchant, so to speak. He got businesses to
accomplish. Probably, this is one way for the man to promote
himself and echo to each that he exist triumphantly. And that
he is better than all of them
This would make any good to him. The place had caused his
bitterness and I know that his frequent visitations would also
cause the healing.
What kind of a man is he?
Could he blame himself for
what he was before and for
what he is now?
I think he is de-spirited. He has not attained the needed peace
for himself. San Leonardo is still bothersome to him. The
man has an unforgiving heart. Despite of his present status, he
has not said goodbye and has not forgotten things of his past.
He‟s a man deserved to be with a companion that would
remind him not to keep grudges but instead allow himself to
see blessings from living today. Partially, it is he who is to be
blamed for what he feels now.
If you were the man, how
If I were the man, I will be using my profession to assist each
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would you try to disregard unwholesome scenes of the past?
of the persons at San Leonardo to attain humanness and love
by honestly doing good to each. My present status promises
optimistic negotiations with people. Through them, I would be
able to extend civic work to enlighten everyone that it is more
appropriate to think the betterment of all.
The process of accepting things for what they are does not
come so easily. But I will start with my family and friends to
mend wounds one at a time. And, if I would be able to see that
chances are obvious, I will have myself be prepared and
cooperate totally.
Each is prone to problematize.
It is an instinctive work of the
mind that stimulates one to
think over matters that are
connected to struggles, that it is
normal to witness, interact, and
sense as they come. As a
student, who is continually into
knowing things, what healthy
methods do you take in order
to treat it with less pain?
Know exactly what the problem is. Check what and who has
caused it? Justify each of them. Recognize the effects piece
by piece logically. Take and accept the problem as typical
item of everybody for some learning.
The process involves a systematic method in providing a wonderful library discussion
group.
It revolves around the interaction of three factors:
the student-reader, the school
librarian, and the library resources (the literary selection, others – print and/or online).
Fundamentally, the process is entrenched on reader‟s response theory. In this theory,
both the school librarian and the student-reader consent to extend dialogues. It is favorable if the
reader opens up and expresses his eagerness to decipher secrets of poetry, mysteries of fiction,
etc. The school librarian triggers queries on certain concerns as to how the reader gets the most
out of the fiction. He illustrates and unlocks difficulties with special emphasis on the milieu. He
explains backgrounds that are essential to the student-reader‟s understanding of the whole
literary piece. Take the outline as one personalized method.
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I. Exposition - The student-reader ought to have one or two simple facts regarding the
writing of the material. He is to be informed exactly what environment it revolves around. An
autobiographical sketch of the author may direct the reader to clarify points. Encouraging him to
inquire details of this stage prolongs the student-reader‟s positive attitude in the discovery
process of exposition.
Examples:
How appealing the title is?
What transpired from childhood to later years of the writer‟s life?
How can the peculiarities of the writer be associated to his work?
What influenced the writer to recreate such a fiction?
Which books in the shelf could reveal more about the writer‟s inner sentiments?
Who are the writer‟s following?
Is the writer an accomplished one? Is he popular?
Is he prolific? Had he received awards numerously?
Are there personal circumstances emphasized? How did they assist him?
Have there been writing styles dominant shown?
II. Student-reader‟s Point of View - The student-reader does not listen all the time. He
reacts and comments spontaneously with what the librarian presents. The more he replies, the
better discussion is at hand. Knowing who your student-reader is, his physiological condition,
and his inspiration to read the particular work will alert the school librarian on the type of
questions the student-reader will uncover from point to point.
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Examples:
Which personas are most admirable? Most hated about?
Does he like the author?
Could he imagine himself emphatizing with some of the fictional characters?
Are there commonalities between him and the student-reader himself? Which ones?
Whose scene he would have stretched out?
Whose portrayal he could easily identify with? Is it pleasant or unpleasant?
Who is at odd with whom?
Has he been entertained by the reading?
Does he think the characters have mismanaged or managed themselves well?
Have there been resolutions the student-reader has formulated?
III. School Librarian‟s Point of View – This point of view of the school librarian whose
immediate incentive is to have some meaningful encounter with his library clientele. He would
simply prepare and foreshadow what‟s going to be asked and inquired by the student-reader. He
must not antagonize the student-reader‟s point of view nor transform the discussions into heated
debates, instead, he must know how to raise issues that could generate critical thinking. The
roundtable discourse should be scholastic and healthy, enlightening occasion to the studentreader most importantly.
Examples:
Has the school librarian exerted attempts to consult and read researches
equipping him with inputs central to the matter of the discourse?
Does the communication style of the school librarian constructive enough to
compel the reader to interact freely and lively?
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Is the school librarian as a facilitator conscious of his floweriness,
exaggerations, figurative lines, etc.?
Is he always the talker?
Has he made a critical thinker out of the student-reader?
Are questions stated plainly? Is variety evident?
What about the delivery of truths? Is it delivered in a manner that is thought provoking
to the listener?
Does the facilitator suggest, implicate, draw or dictate, forget, instruct, etc.?
When the student-reader is tongue-tied or looking defeated, is the facilitator glorifying
and/or denying the situation?
Do the school librarian and the student-reader take some pleasure in the
discourse?
IV. Survey of the Instrument Used – The validity of the instrument used should not be
overlooked. Its content and how the content is glued to the purpose must be reasonable. The
options seen in the paper do not confine the examinees to disregard possibilities and decision
tendencies.
Examples:
Were feedbacks gained on the face validity of the instrument?
Is the student-reader (examinee) appreciative of its underlying principles?
Has the school librarian oriented the student-reader (examinee) of the rationale
of the administration of the instrument?
Had the instrument used bored the student-reader (examinee)?
Did the student-reader‟s (examinee) score receive an attention?
29
Were specifications on instruments pre-devised?
Is it explained well that the instrument is simply one indicator of some proficiency?
Are there follow-ups? Will you force the student-reader (examinee) to take another test?
Are answers justified as to the determination of exactness or rule of precision?
What about the inclusion of other options?
Do they confuse or lead the student-reader (examinee)?
What behaviors occur when scores are announced?
V. Review – The review preludes probable recommendations the school librarian can
make. He may resort to proceed to another instrument or move to a different literary selection
that similarly impacts the student-reader to be pleased about.
Examples:
Does the student-reader ask, accept, and need follow-ups?
Have there been any other literary materials of other authors which can be made available
to the student-reader if he is all set to read more? of the same author?
Have there been any other instruments for the literary selection read which can be made
available to the student-reader if he is all set to undergo tests again?
Is the follow-up immediate, later or now?
Does the school librarian keep, file student-reader‟s record?
Is confidentiality of scores guaranteed?
Is the student-reader knowledgeable of his level of proficiency in reading?
To underscore the student-reader‟s strengths and weaknesses, are techniques supplied by
the school librarian?
If follow-ups have been made, is comparison of results inevitable?
30
Is the group discussion process successful or not?
The interaction is expected to be remarkable. Both the school librarian and the studentreader boost up each other‟s roles in the four corners of the library room. Consequently,
modernizing status of the professional school librarian is observed while student-reader‟s
confidence on seeking the school librarian‟s credibility is achieved. The process is treated
systematically and spontaneously.
Remember that “a pleasant approach meets a pleasant
response.” The demonstration of a good-natured oral activity initiated by the school librarian
encourages student-reader‟s to confirm and testify his worth in the academe.
Proponent of the Program: Roderick Baturi Ramos who currently works as associate
librarian in the Archives of the De La Salle University-Manila. He obtained his Master in
Education (MaEd) at the Philippine Normal University, Taft Avenue, Manila on March 2011.
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