Tuesday, April 28, 2009
I am seated beside Madame Teresita Osorio, Chief Librarian of the Pasig City Library and Discovery Centrum. Call it serendipitous since I meant to do storytelling sessions in the library's Children's Section.
Apart from connecting with "my kind", I got news from the Pasig librarians that Mayor Bobby Eusebio has been very busy building the barangays in Pasig. Madame Teresita Osorio actually came from judging a contest for model barangay libraries in the city. Some good news. A quick bat of an eyelash and soon it's 2010.
Monday, April 27, 2009
Congratulations to Jason Balaqui for winning the first SLIA Essay Writing Contest. His essay on blogs, blogging and librarians opens the reader to his mindscape and personal views on the LIS profession in general. Jason graduated high school from Roosevelt College, Cainta.
Below is his winning essay (unedited).
The Blograrians: An Essay
By Jayson Balaqui
In every known human society, presumptions are often said and done in such a way that it misleads the public to what is really true or not. We cannot really state the exact definition of something unless we try to make a deep understanding about it.
As I have observed, librarians face the world as first class professionals but they are quite misunderstood in some ways. Why is this happening? Well, first of all, librarians are always prejudged as ill tempered individuals who become irritated by even the slightest sound in the library. Though, I must admit that I am one of those people who have this notion, but still everyone knows that there are really some librarians who are quite unentertaining or not enticing and sometimes they are the reason why some students who express interests in libraries even regret it after being abashed by some librarians for the noise that he never meant to do. On the other hand, because of those common notions and presumptions, some of the new bred of librarians who are active and much more accommodating also becomes a victim of that impression.
“I can’t change Filipino librarians, but I can change the way you look at us”. This is one great quote that I have read most especially when I was browsing the internet and landed into the blog site of Mr. Vernon Totanesof the filipinolibrarian.blogspot.com last January. The site really caught my interest because of the words “librarian” and “blog”. I love reading different blogs of different genres but it was my first time to see such a blog run by a full-fledged librarian. I never thought that there is a person like him, as a librarian, would be utilizing Blogs and the Internet to propagate his ideas. I also found their purpose for doing this as a very useful method. Now, even though I am only a student, I am beginning to understand the current situation of LIS professionals.
As I move on through the web page, I found out that there are also other blogs like his which are all aiming to transform the ideas that the common people had inscribed in their minds about LIS professionals. Blogging helps them reach out to more people most especially to those who do not favor the conventional type of reading. It also challenges them to strive more, think critically and creatively and develop themselves in the process.
Internet is a very powerful tool and Blog, as one of its product, provides an excellent way in sharing ideas. It does not only attract adults but also fascinates teenagers to write and to share their ideas. Blog, which is an online version of a static library, poses a great potential to the digitalization of libraries and this might as well as improve library services in schools and offices, help them to expand, and entice more and more people to embrace the love for reading and acquisition of new ideas including those who love new technologies.
One may consider his profession noble, if he no longer considers his work as an obligation, but as a motivation to live and to serve. This is what LIS professionals should put in their minds to continue with their lifelong journey as propagators of intellect and goodwill. They should act as versatile individuals who seek not only a good life but also
Sunday, April 26, 2009
Last April 13, 2009, the Philippine Association of Teachers of LIS (PATLS), gathered together for a National Seminar. One of the topics discussed in the seminar was the updated Continuing Professional Education (CPE) Program for Librarians. According to Madame Beth Peralejo, Board for Librarians Commissioner, the updated CPE Program is meant to be disseminated to the different stakeholders of our institutions - government, private, schools and the academe, even non-government agencies. So, after receiving the important documents via email, I'm posting the first three articles (Art. 1-3) of the updated CPE Program till it's complete.
Section 1. DEFINITION - Continuing Professional Education (CPE) refers to the inculcation, assimilation and acquisition of knowledge, skills, proficiency and ethical and moral values, after the initial registration of a professional that raise and enhance the professional’s level of technical skills and competence.
Section 2. NATURE -The CPE Programs consist of properly planned and structured activities, the implementation of which requires the participation of a determined group of professionals to meet the requirements of voluntary maintaining and improving the professional standards and ethics of the profession.
Section 3. RATIONALE - Compliance with the CPE program is deemed a moral obligation of each professional and within the context of the librarian’s Code of Ethics and is considered a necessary, effective and credible means of ensuring competence, integrity and global competitiveness of the librarian in order to allow him/her to continue the practice of his/her profession.
Section 4. OBJECTIVES OF THE CPE PROGRAM FOR LIBRARIANS -
1. To ensure the continuous education of a registered librarian with the latest trends in the profession brought about by modernization and scientific and technological advancements;
2. To raise and maintain the librarian’s capability for delivering professional services;
3. To instill and maintain the highest standards and quality in the practice of librarianship;
4. To comply with the librarian’s continuing ethical requirements;
5. To make the Filipino professional librarian globally competitive;
6. To promote the information needs and interests of the public.
THE CPE COUNCILS : COMPOSITION, TERMS OF OFFICE, FUNCTIONS, MEETINGS
Section 5. COMPOSITION – The BFL CPE Council (the “CPEC” or the “Council”) shall be composed of a chairperson and two (2) members. The chairperson of CPE Council shall be chosen from among the members of the Board by the members themselves. The first member shall be the president or, in his/her absence or incapacity, any officer chosen by the Board of Directors of the Philippine Librarians Association, Inc. (PLAI); the second member shall be the president or, in his/her absence or incapacity, any officer of the organization of deans, department heads and/or teachers of schools, colleges, or universities offering the Library and Information Science degree.
Section 6. TERMS OF OFFICE – The term of office of the Chairperson of the BFL CPE Council shall be co-terminus with his/her incumbency in the PRC or determined by his/her capacity to fully discharge such functions. Should a change be required by the BFL before the end of the Council Chairperson’s incumbency, the necessary replacement shall be nominated/named by the simple majority of the BFL and thereafter appointed by the Commission in accordance with due process. The first member shall have a term of office co-terminus with his/her incumbency as officer of the PLAI; the second member shall have a term of office co-terminus with his/her incumbency as officer of the organization of deans, department heads and/or teachers of schools offering Library and Information Science degree. The chairperson, first member and second member shall continue to function as such in the BFL CPE Council until the appointment or election of their respective successors in the Board, PLAI, or organization.
Section 7. FUNCTIONS – The BFL CPE Council shall, upon a majority vote, exercise powers and functions which shall include but shall not be limited to the following :
1. Assist the librarians in maintaining their professional knowledge and competence by helping them identify their professional development needs;
2. Set the standards for CPE program development to address the professional development needs of librarians;
3. Ensure the proper dissemination of the necessity of the CPE to the profession as well as updates on the various CPE activities;
4. Evaluate and approve applications for accreditation of CPE providers;
5. Evaluate and approve applications for accreditation of CPE programs, activities, or sources as to their relevance to the profession and determine the number of CPE credit units to be earned on the basis of the contents of the program, activity or source submitted by the CPE providers;
6. Evaluate and approve applications for exemptions from CPE requirements;
7. Monitor the implementation by the CPE providers of their programs, activities or sources;
8. Assess periodically and upgrade criteria for accreditation of CPE providers and CPE programs, activities or sources;
9. Perform such other related functions that may be incidental to the implementation of the CPE programs or policies.
Section 8. FUNCTIONS OF THE BFL CPE COUNCIL CHAIRPERSON :
a. to preside over the meetings of the BFL CPE Council;
b. to direct or supervise the activities of the BFL CPE Council and that of the Secretariat;
c. to make a report on the minutes of regular and special meetings to the BFL within 30 days from date of said meetings;
d. to submit Council annual reports before the end of February of the succeeding year;
e. to issue the certificate of accreditation ( the “CoA”) to CPE providers found by the Council to be qualified in accordance with these Guidelines as well as the certificate of accreditation of programs (the “CoAP”), activities and sources;
f. to issue CPE certification of credit units earned by the professional;
Section 9. SECRETARIAT – The Chairperson of the PRC shall designate or appoint an official with a rank not lower than Division Chief who shall act as the Secretary of the BFL CPE Council. The designated official may participate in the deliberations of the BFL CPE Council but shall not vote. In the absence of such appointee, the Council will designate the accredited professional association to act as the Secretariat, with the APO President appointing an officer who shall act as the Secretary to the CPE Council.
The duties and functions of the BFL CPE Council Secretariat shall be as follows :
a. to ensure that the sessions, meetings or proceedings of the BFL CPE Council are recorded;
b. to prepare the minutes of all the meetings and proceedings of the BFL CPE Council;
c. to release certificates of accreditation to CPE providers and programs, activities, or sources;
d. to release CPE certificates of credit units (the “CUs”) earned by professionals;
e. to keep all records, papers and other documents relative to the evaluation, approval, and accreditation of CPE programs, activities or sources;
f. to maintain records of accredited CPE providers, on-going, continuing or completed CPE programs, activities, or sources, the list of participants and other relevant data.
Section 10. MEETINGS – The BFL CPE Council shall hold regular meetings once a month on dates to be fixed by said Council. Special meetings may be called by the Chairperson or upon written request of at least a member of the BFL CPE Council.
Section 11. INVOLVEMENT OF PLAI- The BFL CPE Council, if the need arises, and upon approval of the Commission, may delegate to the PLAI the processing of the application, keeping of all records for CPE providers and their respective programs as well as credit units (CUs) earned by each registered and licensed librarian who avail of the CPE programs and other related functions. For this purpose, the PLAI may create a counterpart CPE Council (to be known as the “PLAI-CPEC”) which may collect reasonable processing and record keeping fees directly from the applicants, apart from the accreditation fee that such applicants pay directly to the Commission.
The PLAI CPE Council shall keep a separate book of accounts of its expenses and amounts collected from the applicants and make a monthly report to the Commission through the Board. Any excess collection shall be used exclusively as working capital of the PLAI for CPE activities.
Section 12. FUNCTIONS OF THE PLAI CPE COUNCIL –
a. to serve as the processing arm of the BFL CPE Council specifically on the following tasks :
1. accept and process applications for accreditation of CPE providers;
2. accept and process applications for accreditation of CPE programs,
activities, or sources as to their relevance to the profession and determine the number of CPE credit units to be earned on the basis of the contents of the program;
3. accept and process application for exemption from CPE requirements;
4. coordinate with the BFL CPE Council in monitoring the implementation of programs, activities, or sources;
5. coordinate with the BFL CPE Council in assessing and upgrading the criteria for accreditation of CPE providers and CPE programs, activities, or sources;
b. to submit to the BFL CPE Council applications for accreditation of aspiring CPE providers and CPE programs, activities, or sources;
c. to assist the BFL CPE Council by providing relevant statistical data on the renewal of professional licenses and other related matters.
CRITERIA FOR ACCREDITATION OF PROVIDERS, PROGRAMS, ACTIVITIES, OR SOURCES; EQUIVALENT CREDIT UNITS; CREDIT REQUIREMENTS; EXEMPTIONS AND OTHER MATTERS
Section 13. CRITERIA FOR ACCREDITATION – In order to merit accreditation, the following criteria shall be complied with :
A. For CPE Provider :
1. must be a duly registered organization, firm, institution or agency, or a professional of good standing and has never been convicted of a crime;
2. shall have an established mechanism for measuring the quality of the program being offered or administered;
3. must have adequate, modern, and updated instructional materials to carry out the CPE programs and activities;
4. shall have a pool of regular instructors, lecturers, trainors, and resource speakers with good moral character and technical competence and must be holders of current/valid professional registrations and licenses, if they are professionals regulated by the Commission.
B. For CPE programs, activities or sources :
1. The scope shall be beyond the basic preparation for admission to the practice of the profession. The contents shall be relevant/related, but not limited, to the practice of librarianship.
2. The programs, activities or sources shall enhance the competence of the registered and licensed librarian by upgrading and updating knowledge and skills for the practice of librarianship as brought about by modernization as well as scientific and technical advancements in the profession.
Section 14. PROGRAMS, ACTIVITIES AND SOURCES FOR ACCREDITATION AND EQUIVALENT CREDIT UNITS - Any provider may submit to the BFL CPE Council programs, activities, or sources to be approved and accredited for credit units (CUs). No CPE providers shall be allowed to conduct CPE programs, activities, and sources without prior approval and accreditation from the Council.
As used in these guidelines, the following terms shall mean :
1. Seminars shall refer to the gathering of professionals which shall include, among others, workshops, technical lectures or subject matter meetings, non- degree training courses and scientific meetings.
2. Conventions shall refer to a gathering of professionals which shall include, among others, conferences, symposia, fora, or assemblies for round table discussions.
3. Resource Speaker shall refer to a professional who acts as discussion leader or lecturer in a convention, seminar or any similar gathering.
4. Master’s Degree shall refer to a graduate degree in Library and Information Science, Education or related field from a recognized school, college, or university.
5. Doctoral Degree shall refer to a post-graduate degree in Library and Information Science, Education or related field from a recognized school, college, or university.
6. Self-Directed Learning Package shall refer to learning which uses course manuals or accredited learning modules. Accredited learning modules include self- instructional materials or programs which may be in the form of printed manual, audio and video cassette tapes, films, computer-assisted learning (CAL), study kits, learning aids and modules or the use of the information highway. These should include among others clearly defined objectives, adequate content and an evaluation component for each module.
7. Authorship shall refer to the ownership of intellectual property which includes technical or professional books, instructional materials and the like. Credits earned must be claimed within one (1) year from the date of publication or production.
8. Peer Reviewer shall refer to a professional who acts as an evaluator of a research paper, conference paper or journal article before it is presented or published.
9.. Post-Graduate or In-Service Training shall mean training or specialization at the post-graduate level for a minimum period of one(1) week.
10. CPE Provider shall refer to a natural person or juridical entity which includes, among others, accredited or non-accredited professional organization, firm, partnership, corporation or institution which offers, organizes, or arranges CPE programs, activities or sources for implementation and administration.
11. CPE Programs, Activities, or Sources shall refer to the regime of CPE which enhance the competence of the librarians by upgrading and updating knowledge and skills for the profession as brought about by modernization and scientific and technical advancements in the profession. The scope shall be beyond the basic preparation for admission to the practice of the profession. The content shall be related but not limited to the practice of the profession.
Saturday, April 25, 2009
The stories of all but one of these twenty five characters are told in Filipino (with parallel English translation), while the only one that is told in English comes with a parallel Filipino translation. This helps children identify with the characters. Reading should be able to connect children with themselves, not only in terms of their own situation but also in terms of their own. Filipino, the national language, is a language the children understand (much more than English) so it helps catch and keep their attention, thus supporting their captivation with what they are reading. After the vernacular, it is a language that is commonly used in the children’s daily lives, whether directly in interpersonal communication or vicariously through media. Reading stories in this language is like listening and talking to people around them. For children, reading the stories of their favorite characters in a language they understand is like hearing themselves (and the people they know) speak language (Cambourne, 2000; Dumatog and Dekker, 2003; Ocampo, 1997, 2008; Paratore, 2002).
Children’s Filipino Identity
In addition, the Filipino-ness of the characters and their stories helps children identify with them. For reading to be meaningful and engaging, it should be able to connect children not only with their situation and language, but also with their culture (Ocampo, 1997, 2008). Reading the stories of these characters captivates the children because it connects with them as Filipinos. They reflect the Filipino personality and character which spring from the core value of kapwa. Kapwa is shared inner self or identity. It determines one’s pagkatao (personhood). Pagkataong Pilipino (Filipino personhood) upholds this shared identity and the shared humanity that is founded on it. Kapwa lies at the very foundation of psycho-moral and social values that Filipinos hold dear and inculcate in the young, the same ones that permeate their daily lives. Kapwa has two categories: ibang-tao (“outsider”) and hindi ibang-tao (“one of us”). Interpersonal relations with an “outsider” are characterized by pakikitungo (amenities/civility), pakikisalamuha (“mixing”), pakikilahok (joining/participating), pakikibagay (conforming), and pakikisama (adjusting); while those with somebody who is “one of us” are characterized by pakikipagpalagayang-loob (mutual trust/rapport), pakikisangkot (getting involved), and pakikiisa (fusion, oneness, and full trust). Aside from the core value of kapwa, there are two pivotal values: pakiramdam or pakikipagkapwa-tao (shared inner perception) and kagandahang-loob or pagkamakatao (shared humanity). The value of pakiramdam or pakikipagkapwa-tao (shared inner perception) acts as a pivot in interpersonal and behavioral domains. This heightened awareness, sensitivity, and feeling for another is central in surface values. Surface values reflect the Filipino disposition in interpersonal relationships and are classified into two types: confrontative and accommodative. Confrontative surface values primarily function to effect change in the status quo, either on an individual or a collective basis. These confrontative surface values are bahala na (determination), lakas ng loob (guts), and pakikibaka (resistance). On the other hand, accommodative surface values basically work for the maintenance of the status quo, either on an individual or a collective basis. These accommodative surface values are hiya (propriety/dignity), pakikisama (companionship/esteem), and utang na loob (gratitude/solidarity). Behavior patterns associated with such accommodative surface values are biro (joke/tease), lambing (sweetness), and tampo (affective disappointment). Meanwhile, the value of kagandahang-loob or pagkamakatao (shared humanity) is basic or pivotal to the socio-political values of karangalan (dignity: internal dangal or self-respect and external puri or praise/accolade), katarungan (justice), and kalayaan (freedom) (Enriquez, 1992).
When Chenelyn gets sick and can not perform her duties as usual, the family she is serving realize Chenelyn’s worth not only as a househelp but as a kapwa (shared identity). She is then shown kagandahang-loob (shared humanity) through the provision of medical care and a break from work. Moreover, from being ibang-tao (“outsider”) treated on the level of pakikitungo (amenities/civility), she is considered hindi ibang-tao (“one of us”) and shown pakikiisa (oneness) in her mission of keeping cleanliness and order in the house by the family who henceforth share in the performance of housework. Pilo can jokingly play taguan (hide-and-seek) with the members of the household because they are hindi ibang- tao (“one of us”). He treats them on the level of pakikipagpalagayang-loob (rapport/mutual trust). So even if any of them feels tampo (affective disappointment) or sama ng loob (resentment), all will eventually be well because they are not different from each other, as they all make up the “us” that makes them one. Filemon does not mind all the namecalling that others do to him because of his weight and size -- they are ibang-tao (“outsider”), while his parents and classmates who are hindi ibang-tao (“one of us”) love him. He also exhibits karangalan (dignity): he shows dangal (self-respect) by appreciating his worth as a person in relation to his body and his ability, no matter what other people say; and he also receives puri (praise/accolade) from some people who approve of his soft, squishy, warm, cuddly, strong, and sturdy body, and recognize his acting ability. Juan Tamad gets what he deserves. It is an indictment of laziness, a trait that is not valued in one’s loob (inner self/being) nor in that of a kapwa (shared identity).
There is neither karangalan (dignity) nor kagandahang-loob or pagkamakatao (shared humanity) in laziness. Laziness is frowned upon even by those who are hindi ibang-tao (“one of us”) -- like one’s family and friends -- though they are already treated on the level of pakikipagpalagayang-loob (rapport/mutual trust). Juan shows lack of pakiramdam/pakikipagkapwa-tao (shared inner perception) by selfishly doing only what he wants (idleness and play) instead of helping his mother or heeding his friend. So he gets his comeuppance in the end. Raquel is buo ang loob and shows purposiveness and intentionality in bravely and optimistically facing a deadly illness. Despite this illness, she exhibits dangal (self-respect), inner strength, and will that allow her to face her condition with confidence and resolve - and even manage to shine in her cousin’s eyes. Pilandok, a personified mousedeer, shows his pagkamakatao (shared humanity) by coming up with a way to help the people in their pakikibaka (resistance/fight) against the cruelty of the rich and powerful Datu Usman. He is able to do this because has lakas ang loob (guts) to confront a mighty one, consequently actualizing his magandang kalooban (good inner self) and facilitating the social good of his kapwa (shared identity), particularly the townspeople. These oppressed people are hindi ibang-tao (“one of us”) to him so he shows pakikisangkot (getting involved) in their lives and in their struggle against their leader and pakikiisa (fusion, oneness, and full trust) in their aspiration for katarungan (justice) and kalayaan (freedom).
Greedy and wily Matsing gets his comeuppance from kind and trusting Pagong who treats him as hindi iba (“one of us”) and so is palagay ang loob (characterized by rapport/mutual trust). The punishment that personified Matsing gets in the end shows that personified Pagong’s (or any other being’s) kagandahang-loob (shared humanity) should not only be reciprocated, but appreciated. Personified Peles has everyday walks and day-long wanderings even if he has nothing to eat. This is hardly a life with karangalan (dignity) – and he soon gets tired of it. So he decides to turn over a new leaf by exerting himself and using his brawn and strength. He consequently experiences the happiness not only in reaping the fruits of perseverance, patience, and hard work, but also in getting recognized for it. With his new life, he now has dangal (self-respect) and is worthy of puri (praise/accolade). Personified Langgam embodies not only hardwork, thrift, and foresight but also shows the paninindigan (conviction) to go against what a friend (who is hindi ibang-tao, or “one of us”) wants. Langgam is palagay ang loob (characterized by rapport/mutual trust) that his friend Tipaklong will not feel tampo (affective disappointment) or sama ng loob (resentment). He also exhibits kagandahang-loob (shared humanity) when he helps personified Tipaklong, a kapwa (shared identity) and a friend in need. Rosamistica’s kagandahang-loob (shared humanity) to kapwa (shared identity) in greater need than her (mother and child) is rewarded. She receives money which serves as a springboard for yet another act of kagandahang-loob (shared humanity) -- she shares it with other kapwa (shared identity) in need (beggars), with whom she breaks bread. But more importantly, she earns her kalayaan (freedom) from her unjust aunt and uncle when she decides not to return to their house, where she has been practically imprisoned, treated not as a kapwa (shared identity) but as a slave. With her new-found freedom, she now has the capacity to live a life with karangalan (dignity). Reckless Kas gets the punishment he deserves for being without pakiramdam (shared inner perception) to those around him. His complete disregard for them shows that he does not have karangalan (dignity) and does not do pakikipagkapwa (shared inner perception). So he consequently ends up in a junk yard, all broken and down, but without any caring kapwa (shared identity) to show him kagandahang-loob (shared humanity). It is a fate no Filipino wants for a kapwa (shared identity). Ang Tatlong Haragan (like reckless Kas) behave irresponsibly, not minding the consequences of their actions on their environment and their kapwa (shared identity). Because they lack pakiramdam or pakikipagkapwa (shared inner perception), Emang Engkantada gives them a sensitizing punishment that makes them dama (feel) firsthand the worst possible effects of their deeds. This makes them realize their mistake. Through Emang Engkantada’s kagandahang-loob(shared humanity), they turn over a new leaf and learn to do something with karangalan (dignity) -- caring for their environment. Despite his size, Pandakotyong has lakas ng loob (guts) to try his luck elsewhere and confront what comes his way because he believes in his worth as a person with dangal (self-respect). He is buo ang loob and does not hesitate or back out from any challenge, no matter how big or difficult. His pakikibaka (resistance) against and resulting victory over those that disturb the peace are good not only for himself but also for his kapwa (shared identity).
Later, his courage, intelligence, strength, and determination even in the face of uncertainty receive puri (praise/accolade) and he is given the parangal (honor and recognition) of a kingdom to rule as a reward. Mariang Alimango’s unflinching devotion to duty despite the suffering it causes her points to her kagandahang-loob (shared humanity) to her kapwa (shared identity) -- her stepmother and stepsisters -- even if they do not treat her in a similar manner. Like Rosamistica, she is rewarded with kalayaan (freedom) from her unjust, slave-like situation not only to attend the ball like her stepmother and stepsisters, but also to start a new life in the palace. And also like Rosamistica, with her new-found freedom, she now has the capacity to live a life with karangalan (dignity) so different from the oppression she used to suffer. Ampalaya does not have pakikipagkapwa (shared inner perception) – and this lands him in dire consequences. Instead of welcoming his kapwa (shared identity) -- the other vegetables -- and peacefully co-existing with them, he declares that he does not need them and even desires to be better than all of them. He does no pakikitungo (amenities/civility), pakikisalamuha (“mixing”), and pakikilahok (joining/participating). What he does do is unacceptable in a community -- he steals from his kapwa (shared identity). This selfish act is without karangalan (dignity) and katarungan (justice) so it is punished. The punishment teaches Ampalaya a lesson and makes him mend his ways. Mariang Sinukuan shows that in a community, one should not do another any harm, be violent, or disturb the peace as none of these promotes the common good. She punishes Lamok for an act that causes all three, an act that is devoid of pakiramdam or pakikipagkapwa (shared inner perception). Og Uhog is offended by the biro (joke/tease) of a classmate, whom he meets for the first time. It is not appropriate for her to do so since she is ibang-tao (“outsider”) with whom he is not palagay ang loob (characterized by mutual trust/rapport). That this girl who makes fun of him ends up with uhog (slimy snot) at the back of her dress is a kind of poetic justice. It is not good to make fun of a kapwa (shared identity), as it shows lack of sensitivity to his feelings and absence of pakiramdam (shared inner perception). Lola uses her prized possession for the good of the community. Her kagandahang-loob (shared humanity) to her kapwa (shared identity), is shown when she uses her extraordinarily long, thick, and strong hair to save her community from one typhoon after another -- buo ang loob, never once wavering nor losing hope that she will succeed. Lola’s dangal (self-respect) as a person does not so much lie in what she has, but in what she does with it for the common or greater good. Selfish Pikpakbum is punished for not showing kagandahang-loob(shared humanity) to a kapwa(shared identity) who is hindi iba (“one of us”), his own brother.
Nevertheless, Tiktaktok (personified like Pikpakbum) demonstrates pagkamakatao (shared humanity) by helping save his brother from greater harm. Elusive and magical Ibong Adarna is caught by Don Juan not because of his intelligence or agility, but because of the kabutihang-loob or good inner self (kindheartedness) he shows to a kapwa (shared identity) in need, who then helps him not only to catch the bird to cure his father but also to restore his brothers to life. His kind act is a sign of kagandahang-loob or pagkamakatao (shared humanity). Seeing the hardwork and feeling the fatigue of his parents in their relentless efforts to feed him, Carancal leaves his home behind to look for his fortune, vowing to give his parents a good life. He has pakiramdam (shared inner perception) for his parents who are hindi ibang-tao (“one of us”). So he decides to do the most makatao (humane) thing he can think of -- leave home to spare his parents anymore suffering due to his big appetite. He ends up doing the heroic act of killing a giant that has been terrorizing a town, and he gets puri (praise/accolade), recognition, and reward for it -- a big house and land for his parents to till.
Carancal shows that heroism and one’s dangal (self-respect) as a person do not lie in one’s size, but in how one uses kagandahang loob(shared humanity), ability, and talent to contribute to the common or greater good. Butsiki’s efforts in maintaining cleanliness in herself and in her surroundings are contradictory to what other pigs do. But she is buo ang loob in her desire to change the status quo. Like Raquel, she exhibits dangal (self-respect), purposiveness, intentionality, inner strength, determination, and will in confronting a difficult situation. She also exhibits karangalan (dignity) in being true to her words by actually doing what she asks others to do, and in doing all these for the good of her kapwa (shared identity) whom to her are hindi iba (“one of us”) and her community. In the end, even if she is unjustly punished by those protecting the status quo, she receives the greater katarungan (justice) of being proven right by history and getting the parangal (recognition and honor) of being sainted. Duwende rightfully punishes the greedy husband and wife couple for taking advantage of and plotting against their illiterate young servant. Instead of showing him kagandahang-loob (shared humanity) as a kapwa (shared identity), they lie to him, steal from him, and even imprison him. In the end, the boy Tias finally gets his kalayaan (freedom) from his unjust masters when he leaves them to go to the province to study. Like Rosamistica and Mariang Alimango, with his new-found freedom, he now has the capacity to live a life with karangalan (dignity), in contrast to his previous oppressed state. Finally, Teo shows the pagkatao (shared inner identity) that elders want to develop in children. He exhibits strong pakiramdam (shared inner perception) and his dealings with his kapwa (shared identity) are characterized by kagandahang-loob (shared humanity). He leads a life of karangalan (dignity), which is so appreciated and approved by others (especially adults) that he gets puri (praise/accolade) and parangal (recognition and honor) for it (Enriquez, 1992).
These characters and their stories reflect and affirm the values Filipinos hold dear. They exhibit the Filipinos’ profound solidarity with each other, which is founded on a shared inner self and an extended sense of identity. They reward the good and the right and punish the bad and the wrong accordingly, not only on the interpersonal level but also on the socio-political level. In so doing, they highlight the best in the Filipino character that should be nurtured in today’s children and cultivated in the generations that will come after them.
Friday, April 24, 2009
Thanks to Arnold Digital for donating the gift check!
Thursday, April 23, 2009
News from CANVAS on the 2009 Romeo Forbes Children's Story Writing Competition, courtesy of Gigo Alampay --
CANVAS is pleased to announce that Fernando Gonzalez, in a close decision, has won the 2009 Romeo Forbes Children's Story Writing Competition for his story, Mga Huni sa Loob ng Kawayan. He becomes our first two-time winner, having previously won for "Ang Batang Maraming Bawal."
The rest of the finalists - in no particular order - were:
* Sierra Mae Paraan for "Ang Balangay ng Magigiting"
* Joaquim Emilio Antonio for "Ang Silid ni Bb. Ismid" and
* Genaro Gojo Cruz for "Ang Mga Anak ng Bayan sa Katipunan"
The panel of judges was composed of Mariella Sugue, a 2006 TOYM Awardee who co-founded the Child Protection Unit (CPU) under the Department of Pediatrics of the Philippine General Hospital that pioneered the multi-disciplinary approach to the care of abused children; Bam Aquino, former chairperson of the National Youth Commission and president of Microventures
Inc., which runs Hapinoy - the first and largest chain of sari-sari stores in the country; and CANVAS Executive Director Gigo Alampay.
A couple of notable notes: This year's contest piece (shown above) by artist Juanito Torres inspired over 80 original stories from Filipino writers, with some coming from as far away as the United Kingdom and the United States. This is also the first time that the stories that made it to the final round were all written in Filipino.
Thank you to all those who participated in this year's competition. And congratulations, again, to Fernando "Don" Gonzalez!
Tuesday, April 21, 2009
I first read the book in 1994 as a preschool teacher and even saw a version of it in filmstrip format. Talk about growing old. Now, Sony Pictures brings the book to life via 3-D animation. As a reading teacher, I use the book for a lesson on cause and effect with integration on weather, a Science lesson. My students and I always wonder where all the food came from. In the sky, yes, but surely, it does not simply fall down to earth just because. My students would be engaged into thinking of so many possibilities -- from Greek gods and goddesses to alien abductions!
At last, the animated film seem to give an explanation.
Sunday, April 19, 2009
A special sale of books by various publishers at substantial discounts will be ongoing the whole day at the Instituto Cervantes. For other activities celebrating World Book and Copyright Day, please visit the Instituto Cervantes website at http://manila.cervantes.es/en/default.shtm
The forum is free of charge.
Saturday, April 18, 2009
I don't remember the book as being extremely dramatic and tumultuous. The visual effects of the trailer made it so. Now I have to reread book six to rediscover old insights and uncover new perspectives. The movie is scheduled to open on July 17, 2009 in the US. With luck, the Asian showing of the movie may just be on the same date.
Let the count down begin!
Friday, April 17, 2009
AHON is currently pooling people and resources for their new project, FABILIOH 150x150 --
This project will be a university wide effort to raise at least 150 brand new books per class of students from prep to graduate school, to be able to help at least 150 public elementary schools in our country.
if your interested to lend a hand, just click the links for contact details and other information.
Thursday, April 16, 2009
PAARL has been officially certified by the members of the CPE Council of
the Professional Regulatory Board for Librarians chaired by Hon.
Elizabeth R. Peralejo as a CPE provider for three (3) years from
2009-2011. This forthcoming seminar entitled "Librarians at their
Best: Envisioning and Realizing Multilevel and Progressive Readers
Services" which will be held at the Lyceum of Aparri, Cagayan Valley
from April 29 to May 1, 2009 has been approved and given 20 credit
Please hurry and make your reservations soon if you want to be assured
of accommodation and transportation. Call or email Christopher Paras at:
09287960744 Email: paras.christopher@ gmail.com
This goes to show that PAARL lives up to its commitment in pursuing high professional standards for its members and for raising the bar among LIS professionals at large. Very soon, I hope, the Philippine Librarians Association Incorporated (PLAI) and the rest of the library organizations in the Philippines would follow suit. Unless there exist a set of requirements for a professional association to become an accredited CPE provider.
As in all things in this world, there's another side to the story. It is worth hearing how PAARL was able to achieve this feat.
Tuesday, April 14, 2009
Here is a sample plan for storytelling that can be used in the classroom. Following the basic framework, it observes the basic structure of reading instruction to formalize the learning of skills like characterization, drawing conclusions, comprehension (through context clues) and thinking skills like making inferences and critical thinking.
Title of Story: Ang Mga Kwento Ni Lola Basyang ni Severino Reyes: The Prince of the Birds
Retold by Christine Bellen
Illustrated by Frances Alcaraz
Published by Anvil Pub. Inc. 2005
Target learners/students: Grade 5-6
- To understand the different character traits in the story (the King, Princess Singsing and the Prince of Birds);
- To make a conclusion of a character based on actions and decisions he/she made in the story;
- To enjoy and appreciate a story read aloud as a class/group (Readers’ Theatre) and extend the literary experience through role playing of the story’s basic parts;
- To learn the concept and meaning of the phrase kept his promise
- Unlock the phrase kept his promise as used in context.
- Present a paragraph using kept his promise.
Mark and Peter agreed to bring an extra sandwich and bottled water for Ms. Dela Cruz, their coach and teacher, if either of them wins in the Spelling Bee contest. Peter won and kept his promise to Mark.
What does the phrase, kept his promise, mean?
c. Motive question – Why didn’t the King keep his promise to the Prince of Birds?
Storytelling Proper & During Reading Activities:
- Introduce the book, the writers, illustrators and publisher of the book and its series.
- Distribute the script for the Readers’ Theatre to the class.
- During reading activities:
The King of Tongkiang
The Prince of Birds
Attitudes, habits and decisions
General traits and characteristics
- Go back to the motive question so students can answer it.
Note: The teacher/storyteller may write comprehension questions for the during-reading-activity part of the session, or have small group discussions, like a literary circle as an additional post activity. Differentiated activities is another option for the teacher/storyteller and the students to do.
Divide the class in groups in preparation for a role playing of the basic parts of the story.
Planned and prepared by:
For the Anvil Publishing Inc. sponsored workshop at Powerbooks Trinoma, April 13, 2009.
Sunday, April 12, 2009
Wednesday, April 8, 2009
The Magic of the Characters (and Their Stories)
Filipino children love these characters and their stories because they are magical. They are magical because they are
1) mirrors that hold up children’s reflections of themselves, and
2) are windows to places and things that children have, until then, only imagined in their games and dreams.
Reflections of Themselves
Children love these twenty five characters because they are magical. They are magical because like a hall of mirrors, they hold up children’s reflections of themselves. Children are enchanted to meet in the pages of a storybook people who are like them in many ways, even if unlike them in some (Darigan, et. al., 2002; Huck, et. al., 2001; Lynch-Brown and Tomlinson, 2005; Norton, 1987). In reading, as in life, people want to find meaning. This is especially true among the young (Bettelheim, 1976). Children can hardly relate to anything or anyone that they can not understand (Ocampo, 1997). So reading should be able to connect children with themselves, especially in terms of their own situation (Paratore, 2002).
• Child and Childlike Characters
Child readers identify with storybook characters that satisfy their needs (Canon, 2006; Diaz De Rivera, 1997; Hunt, 1994; Lesnik-Oberstein, 1994). As human beings, they have the same needs as adults (Sutherland and Arbuthnot, 1991). Maslow (1943) enumerates these as physiological, safety, social, esteem, aesthetic, and self-transcendence needs (in Norton, 1987). Piaget (1962) and Vgotsky (1998) add another, the children’s need for play. It is such needs that are satisfied by the 25 best-loved characters. These needs are met in relation to the developmental stages the children are in – cognitively (Piaget, 1983) psychosocially (Erikson, 1959), and morally (Kohlberg, 1958). At each age, children seek and find some meaning congruent with how their minds and understanding have already developed (Bettelheim, 1976). Children do not think and comprehend in the way that adults do (Villanueva, 2007).
Among the twenty five characters, ten are children, like the readers who love them. These are Chenelyn, Juan, Pilo, Filemon, Raquel, Rosamistica, Og, Carancal, Teo, and Ang Tatlong Haragan. Like Chenelyn, children can do different tasks but can get tired doing them and when they do, they need to rest; and like her, they too need to be appreciated and cared for (Canon, 2006; Diaz De Rivera, 1997; Sutherland and Arbuthnot, 1991). Like Juan and Pilo, children like to play; and like the two, they need to know the limits of their playfulness (Canon, 2006; Diaz De Rivera, 1997; Lurie, 2003; Marcus, 1997; Sutherland and Arbuthnot, 1991). Like Filemon children need to nourish their body and mind – and enjoy eating appetizing food, pretending, and acting; and like him, they will do what they can, even make a sacrifice, in order to get what they want, because like him they need to achieve and be recognized (Canon, 2006; Diaz De Rivera, 1997; Sutherland and Arbuthnot, 1991). Like Raquel, children are full of imagination, and hope – especially in the midst of life’s challenges and difficult times; and like her, they are vulnerable but brave (Canon, 2006; Diaz De Rivera, 1997; Gatmaitan, 2007; Lurie, 2003; Sutherland and Arbuthnot, 1991). Like Rosamistica, children need the safety and security of a family and a home; and like her, they need to love and be loved (Canon, 2006; Diaz De Rivera, 1997; Sutherland and Arbuthnot, 1991). Like Carancal, children have the power to triumph over life’s challenges; and like him, they need to feel worthy, to be competent and successful despite their physical limitations (Canon, 2006; Diaz De Rivera, 1997; Evasco, 2005; Sutherland and Arbuthnot, 1991). Like Rosamistica and Carancal, children are small but capable of doing big things for other people; and like them, they give a heroic image to childhood (Canon, 2006; Diaz De Rivera, 1997; Evasco, 2005; Sutherland and Arbuthnot, 1991). Like Og, children make believe that they have special powers and can do what they want; and like him, they need to be accepted and belong, not laughed at and made fun of (Canon, 2006; Diaz De Rivera, 1997; Lurie, 2003; Sutherland and Arbuthnot, 1991). Like Teo, children know that young as they are, they have duties and roles to perform so that there will be order and harmony around them; like him, they have a need to be good or right not only to please others and gain their approval, but also to relate well with them (Canon, 2006; Diaz De Rivera, 1997; Lurie, 2003; Sutherland and Arbuthnot, 1991). Like Ang Tatlong Haragan, children need to understand what the boundaries of behavior are - what is unacceptable and punishable, and what is not; and like them, they need to be clearly told and shown what is right and wrong so they will act or reform accordingly (Canon, 2006; Diaz De Rivera, 1997; Lurie, 2003; Sutherland and Arbuthnot, 1991).
Indeed, children identify with these characters because in their own ways, they satisfy certain needs for them - and so are interesting and valuable to them (Darigan, et. al., 2002; Huck, et. al., 2001; Lynch-Brown and Tomlinson, 2005; Norton, 1987). Though children do have differences rooted in their individual and social contexts (Lesnik-Oberstein, 1994), they have the same basic needs as young human beings, and these are reflected in and by their favorite storybook characters who are children like them: the need for physical well being; the need to love and be loved; the need to belong; the need to achieve competence; the need for approval and recognition; the need to know; the need for beauty, order, and harmony; the need for safety and security; and the need for play. (Sutherland and Arbuthnot, 1991). It is these same needs that are met in and by the other characters.
Aside from these ten child characters, three others are also characterized as children, though non-human: Onyok, Tiktaktok at Pikpakbum, and Butsiki. In addition, six characters are relatively “childlike” opposite the antagonists: juvenile Pilandok, small and slow Pagong, little Duwende, tiny Langgam, short Pandakotyong, and youthful Mariang Alimango. Children identify with those they perceive to be similar to themselves in some way (Lesnik-Oberstein, 1994), Like Onyok, children have family and friends to help them know what they are and what they can do, and to make them feel a sense of contribution, value, and acceptance; and like him, they need to have self-esteem and self-respect (Canon, 2006; Diaz De Rivera, 1997; Lurie, 2003; Sutherland and Arbuthnot, 1991). Like Tiktaktok at Pikpakbum, children differ from and fight with their siblings, but care for each other nonetheless; and like the two, they need the security and harmony of loving and being loved for what they are and despite themselves (Canon, 2006; Diaz De Rivera, 1997; Lurie, 2003; Sutherland and Arbuthnot, 1991). Like Butsiki, children need others to join the causes they take up so they can achieve the good that they set out to do; and like her, they need to be believed and trusted as capable of doing what is right even when it is unpopular (Canon, 2006; Diaz De Rivera, 1997; Sutherland and Arbuthnot, 1991). Like Pilandok, children enjoy pranks, jokes, and tricks, especially when they are made on adults or “big people” who mistreat others (Lurie, 2003); like Pagong, children delight in seeing a “better and bigger” other get a comeuppance, especially through the wit or cunning of an erstwhile victim (Lurie, 2003); like Duwende, children are amused at giving a “misbehaving adult” his just punishment (Lurie, 2003); and like the three, they need to feel secure in the belief that the “bad” eventually get what they deserve (Bettelheim, 1976; Lurie, 2003). Like Langgam, children feel safe having a roof over their heads and food on their tables; and like him, they need to have a home to shelter them from life’s storms and resources to see them through (Canon, 2006; Diaz De Rivera, 1997; Sutherland and Arbuthnot, 1991). Like Pandakotyong, children are proud of what they can do and will even take up challenges to show it; and like him, they need to prove themselves and get recognition for it (Canon, 2006; Diaz De Rivera, 1997; Sutherland and Arbuthnot, 1991). Like Mariang Alimango, children can quietly suffer hardship and later get rewarded for it; and like her, they need to believe that their suffering will end and they will be happy in the end (Bettelheim, 1976; Canon, 2006; Diaz De Rivera, 1997; Sutherland and Arbuthnot, 1991). Similar to their kinship with the ten human child characters, children identify with these nine child non-human characters because they are somehow similar to them not only in their needs but also in their interests, quirks, and wishes (Diaz De Rivera, 1997; Lurie, 2003; Sutherland and Arbuthnot, 1991). It is the same needs that are met in and by the remaining characters.
These characters -- Kas, Ampalaya, Matsing, Tipaklong, Peles, Ibong Adarna, Lola, Emang Engkantada, and Mariang Sinukuan -- which are seemingly non-childlike on the surface actually hold similarities with the child readers who love them. Like Kas and Ampalaya children can act aggressively and selfishly and when this happens, they should face the consequences of such actions; and like the two, they need to act in accordance to social expectations if they want peace and harmony around them (Bettelheim, 1976; Diaz De Rivera, 1997; Lurie, 2003; Sutherland and Arbuthnot, 1991). Like Matsing, children can be shortsighted and self-centered; and like him, they need to learn foresight and fairness (Bettelheim, 1976; Diaz De Rivera, 1997; Lurie, 2003; Sutherland and Arbuthnot, 1991). Like Tipaklong, children enjoy music and movement, fun and games; and like him, they need to know that at the end of the day, they have to prepare for tomorrow nonetheless (Canon, 2006; Diaz De Rivera, 1997; Lurie, 2003; Gatmaitan, 2007; Sutherland and Arbuthnot, 1991). Like Peles, children get tired of monotony, try something new, and want to get immediate satisfaction from it; and like him, they need to develop patience and perseverance in their pursuit of gratification (Canon, 2006; Diaz De Rivera, 1997; Lurie, 2003; Sutherland and Arbuthnot, 1991). Like Ibong Adarna, children are colorful and musical, and can enchant with such qualities; and like it, children need others as an audience to demonstrate the beauty and power of their abilities (Canon, 2006; Diaz De Rivera, 1997; Lurie, 2003; Sutherland and Arbuthnot, 1991). Like Lola, children are strong and enduring; and like her, they need an opportunity to show their concern for those around them (Diaz De Rivera, 1997; Evasco, 2005; Gatmaitan, 2007; Lurie, 2003; Sutherland and Arbuthnot, 1991). Like Emang Engkantada, children have a wellspring of fairness and compassion; and like her, they need beauty and order around them (Canon, 2006; Diaz De Rivera, 1997; Lurie, 2003; Sutherland and Arbuthnot, 1991). Like Mariang Sinukuan, children ask why things are the way they are; and like her, they need peace and harmony to reign (Canon, 2006; Diaz De Rivera, 1997; Lurie, 2003; Sutherland and Arbuthnot, 1991).
Indeed, these twenty five characters because they are magical because they hold up children’s reflections of themselves (Darigan, et. al., 2002; Huck, et. al., 2001; Lynch-Brown and Tomlinson, 2005; Norton, 1987).
Tuesday, April 7, 2009
Click the links for details and guidelines of the contest.
Monday, April 6, 2009
If you're reading this entry via Multiply, I suggest you click the link above and see for yourself the nifty layout I got from Blogger Styles courtesy of Falconhive. It is so me - coffee, pen and open diary/journal. Take note of the paper clip on the right frame. My journals have them too. I think I'm going to stick with this layout for a while. And yes, it's a three-columned layout! Ah, the fulfillment of my blogging dreams!
But, I'm still working my way through the new features of Blogger and Feedburner. So many things have happened in a year's time that I'm catching up with the wave of Web 2.0. I still have so many links to put back, though I know for one, I have the essentials. The whole process demands so much of my time and patience. I'm reading through a lot of instructions online too. So, really, blogging is a highly cognitive and metacognitive activity.
Now, if you're a tech savvy person and a frequent reader of this blog, kindly help me out because I could not get rid of the word "undefined" under the title of my posts. It's in red colors and bold font. Geeesh. I'm trying to figure it out in the html code, but I can't seem to find it. I'm putting it in the parking lot for the meantime. There is still tomorrow to go back at the clutter.
As for now, I'm loving the changes in the blog. I hope you do too. Leave a comment and tell me what you think.
Sunday, April 5, 2009
As long as one finds a quiet place, one can find God in prayer and reflection. And He is online too.
The Philippine Jesuits has a running Online Retreat. Dubbed as The Silences of Lent, one can attend the retreat via the Internet. It has a priming activity to prepare retreatants to the Tridium of this coming week. It is on it's second year and the first one was quite successful with so many retreatants posting their prayers and reflections in the forum. I was one of them. I even wrote about it in my personal blog last year. I'm not telling you to take my word for it, but it worked for me so I will do the same this year inspite of the annual Holy Week recollection that my husband and I will attend on April 9.
I'm not expecting to grow a pair of wings nor expect a halo on my head to appear. I've too many sins. Attending several recollections and retreats is merely not enough to absolve a sinner like myself. Besides, conversion is a long process. God works in wondrous ways and He has been patient with me. So who knows, I might receive a grace that I do not pray for.
I also look forward to the Online Visitia Iglesia. I hope the Jesuits do another round again because, if not this Holy Week, the churches are very good spots for the pilgrims to visit in the future.
Apart from these links for this Holy Week, Sacred Space offers online prayer guides and reflections even on ordinary days and weeks. Didache is also a good source for daily prayer. Bo Sanchez, lay preacher and inspirational speaker who is almost always in blue jeans, has a blog where his writings based on the scriptures are found.
There really is no escaping God's love and presence. His invitation is open and free for all. It is only a matter of choice to take and receive it. Have a restful Holy Week -- this means, no blogging from Maundy Thursday to Easter Sunday. At least, for me.
Saturday, April 4, 2009
I'm working on a three-column layout for this blog and lost some important links in the process. I only managed to return the essential links for the time being. Please bear with me for a few days. Hopefully I can put back old relevant links.
Wednesday, April 1, 2009
The 25 Best-Loved Children’s Book Characters
During the celebration of National Children’s Book Day (NCBD) on July 21, 2008 in the
Cultural Center of the Philippines (CCP), the Philippine Board on Books for Young People (PBBY), after surveying hundreds of public school children all over the country (with the significant help of Sa Aklat Sisikat Foundation), unveiled the 25 Best-Loved Children’s Book Characters Exhibit by Ang Ilustrador ng Kabataan (Ang InK). NCBD is celebrated every third Tuesday of July in commemoration of a little known fact: the publication of Jose Rizal’s retelling and illustration of “The Monkey and the Turtle” in Trubner’s Oriental Record in 1889. The PBBY is an organization committed to the development of children’s literature in the Philippines. It is composed of permanent and institutional members (The National Library, the Cultural Center of the Philippines, and Museo Pambata) and individual members representing educators, researchers, librarians, book reviewers, writers, illustrators, storytellers, publishers, book sellers, media practitioners, and reading advocates. Ang InK is an association of artists committed not only to the creation and promotion of illustrations for children but also the professionalization and development thereof. Sa Aklat Sisikat (SAS) is a non-profit organization that promotes the love and habit of reading among Filipino children.
The subjects of this popular life-size rubber sculpture exhibit and the books they come from are the following:
1. Chenelyn (“Chenelyn! Chenelyn!” written by Rhandee Garlitos, illustrated by Liza Flores, and published by Adarna)
2. Pilo (“Si Pilong Patago-tago” written by Kristine Canon, illustrated by Leo Alvarado, and published by Adarna)
3. Filemon (“Filemon Mamon” written by Christine Bellen, illustrated by Jason Moss, and published by Adarna)
4. Juan (“Juan Tamad” retold by Rene Villanueva, illustrated by Jo Ann Bereber, and published by Lampara)
5. Raquel (“Ang Pambihirang Buhok ni Raquel” written by Luis Gatmaitan, illustrated by Beth Parrocha-Doctolero, and published by Adarna)
6. Pilandok (“Pilandok” series of folktales retold by Rene Villanueva, illustrated by Kora Albano, and published by Adarna)
7. Pagong at Matsing (“Si Pagong at si Matsing” retold by Danilo Consumido, illustrated by Hubert Fucio, and published by Adarna)
8. Peles (“Ang Kamatis ni Peles” written by Alberta Angeles, illustrated by Renato Gamos, and published by Adarna)
9. Langgam at Tipaklong (“Si Langgam at si Tipaklong” retold by Alberta Angeles, illustrated by Renato Gamos, and published by Adarna)
10. Onyok (“Ang Mahiyaing Manok” written by Rebecca Anonuevo, illustrated by Ruben de Jesus, and published by Adarna)
11. Rosamistica (“Rosamistica” retold by Christine Bellen, illustrated by Liza Flores, and published by Anvil)
12. Kas (“Ang Barumbadong Bus” written by Rene Villanueva, illustrated by Jo Ann Bereber, and published by Adarna)
13. Emang Engkantada at ang Tatlong Haragan (“Si Emang Engkantada at ang Tatlong Haragan” written by Rene Villanueva, illustrated by Alfonso Onate and Wilfredo Pollarco, and published by Adarna)
14. Pandakotyong (“Si Pandakotyong” retold by Christine Bellen, illustrated by Albert Gamos, and published by Anvil),
15. Mariang Alimango (“Si Mariang Alimango” retold by Tomas Lacson, illustrated by Onie Millare, and published by Adarna)
16. Ampalaya (“Alamat ng Ampalaya” written by Augie Rivera, illustrated by Kora Albano, and published by Adarna)
17. Mariang Sinukuan (“Ang Hukuman ni Sinukuan” retold by Rene Villanueva, illustrated by Mitzi Villavecer, and published by Adarna)
18. Og (“Og Uhog” written by Christine Bellen, illustrated by Jason Moss, and published by Lampara)
19. Lola (“Ang Pambihirang Buhok ni Lola” written by Rene Villanueva, illustrated by Ibarra Crisostomo, and published by Adarna)
20. Tiktaktok at Pikpakbum (“Tiktaktok at Pikpakbum” written by Rene Villanueva, illustrated by Renato Gamos, and published by Adarna)
21. Ibong Adarna (“Ibong Adarna” retold by Roberto Alonzo, Jordan Santos, and published by Adarna)
22. Carancal (“Carancal” series of folktales retold by Rene Villanueva, illustrated by Kora Albano, and published by Lampara)
23. Butsiki (“Ang Unang Baboy sa Langit” written by Rene Villanueva, illustrated by Ibarra Crisostomo, and published by Cacho)
24. Duwende (“Ang Parusa ng Duwende” retold by Christine Bellen, illustrated by Elbert Or, and published by Anvil)
25. Teo (“Oh, Mateo” series written by Grace Chong, illustrated by Beth Parrocha-Doctolero, and published by OMF-Hiyas).
Research Question and Methodology
In view of the aforementioned, this paper focuses on this question: Why do Filipino children love these characters? To answer the question, this paper makes a content analysis of the stories using a psycho-educational framework.