THE WEDDING DANCE

AMADOR T. DAGUIO
About the Author
A poet, novelist and teacher during the pre-war
Born January 8, 1912 in Laoag, Ilocos Norte
Grew up in Lubuagan, Mountain Province
1924 Lubuagan Elementary School (class valedictorian)
1928 Rizal High School in Pasig
1932 University of the Philippines
He also taught fo 26 years at the University of the East,
University of the Philippine, and Philippine Women University
1952 M.A. in English at Stanford University Thesis: Study &
Translation of Hudhod hi Aliguyon (Ifugao Harvest Song)
1954 Obtained his Law degree at Romualdez Law College in Leyte
April 26, 1966 he died
1973 7 years after his death, Daguio was conferred the Republic
Cultural Heritage Award
Characters:
1. Lumnay a woman who was left by her husband because he had to
marry another woman/ Developing. The wife of Awiyao. The woman who was
left by her husband (Awiyao) because she cannot bear a child.
Beautiful, a good dancer, strong in planting beans, fast in cleaning jars, and
a good housekeeper,
2. Awiyao- the husband stated above / Flat. The Husband stated in the short
story. (Wedding dance) Humorous and physically fit.
3. Madulimay Awiyaos new wife / Flat
Summary
Awiyao and Lumnay were husband and wife for seven years, but now
the husband has to marry another woman, Madulimay, because Lumnay was
not able to give him a child. (In their culture in the mountains during
those times, having a child to follow after the husbands name was
a must.
On the night of the wedding, Awiyao goes to his and Lumnays house
to personally invite her to the traditional wedding dance. However, Lumnay,
the best dancer in the entire tribe, refuses to go. Then, during their
conversation, it is revealed that both of them still love each other, but
because
of
their
tribes
custom,
they
have
to
separate.
Awiyao goes back to the wedding, to the wedding dance, after being
fetched by some friends. Lumnay wants to follow, partly because of the
dance, and partly because she wants to put a stop to their tribes tradition of
having to marry another partner just to have a child.
Introduction
The story started when Awiyao went ti his and Lumnay's house to invite his
ex-wife to join the dance.
Climax
So much intense felt in the story when they both stated that they do
not want any other man or women for them. There so much intense formed
when they stated that they still love each other.
Falling Action
When Lumnay and Awiyao have to follow their Tribe's Custom. And
they have to separate and end up their relationship.
Conflict

The conflict here is Man vs. Society .The lead characters have to
follow their tribes custom , and it is resolved when they had a heart-to heart
talk that they should separate and continue with their separate lives. And if
Awiyao's second marriage will not work he will come back to Lumnay's arms
again. They should follow their tribe's custom and on the part of Awiyao he
shows that he really wanted to have a child to follow his name but there is a
bit hesitance on Lumnay's part.
Conclusion
We can say that these situations still happen in the present times.
Even with great innovations and advancements, if Awiyao and Lumnay will
live in todays era, they can still experience the same situation, but perhaps
presented in another way. There are a lot of BARRIERS that make different
versions of Awiyao and Lumnays tragic love story through time. But I believe
these barriers cant hinder great love that continually grows and is felt for life
even with barricades blocking it, like that of Awiyao and Lumnay. They may
be separated eternally: his body would not anymore be hers, but his heart
would still be forever.
Settings
Place:
Mountain somewhere in Philippines
House of Lumnay's and her Ex husband Awiyao
Time:
A long time ago.
Weather condition: Fine
Social condition: Lower class
Mood or Atmosphere: Sad and Tense
How My Brother Leon Brought Home a Wife
By: Manuel E. Arguilla

Ilocano writer in English

Born in Barrio Nagrebcan in Bauang, La Union on June 17, 1911.
4th child of Crisanto Arguilla and Margarita Estabillo
Known for his widely anthologized short story "How My Brother Leon
Brought Home a Wife," which won first prize in the Commonwealth
Literary Contest in 1940.
1933 He finished BS Education at University of the Philippines.
He became a member and later the president of the U.P. Writer's
Club and editor of the university's Literary Apprentice.
He taught at the University of Manila while working at the Bureau of
Public Welfare.
In 1940, he became the managing editor of the Bureau of
Welfare newsletter, the Welfare Advocate.
He was appointed to the Board of Censors and was asked to serve in
the Japanese propaganda agency. But Arguilla had also just become an
agent of the Markings Guerillas
June 12, 1972, Arguilla was honored with a posthumous award, the
republic Cultural Heritage Award. He was cited for producing literary
works that have continued to influence Filipino fiction writing and
literary scholarship.

Characters
Major:
Leon/Noel - older brother of Baldo, Maria's husband
Maria - Leon's Wife
Baldo - younger brother of Leon, Narrator of the story
Minor:
Labang - the carabao
Ca Celin -

Father and Mother of Baldo and Leon

Aurelia - younger sister of Baldo and Leon
Sumnmary
Baldo and his older brother Leon were both waiting for the arrival of
their visitor riding the carretela. Seeing his brother's wife, Baldo was easily
taken away by the beauty of the woman from city as he narrates their
journey to Nagrebcan. The idea of meeting with Leon's parents for the first
time made Maria a bit anxious. But along their way home, Maria discovered
the peculiarities of the life in Nagrebcan as opposed to their life in the city
where she met and fell in love with Leon.
Like the Molave
By: Rafael Zulueta Da Costa
Rafael Zulueta Da Costa
Filipino poet
Born in Manila in 1915
Took up his studies and finished business administration in De La Salle
College
Has been an executive at San Miguel Brewery
R. Zulueta Da Costa (Writer)
Rafal Zulueta (Businessman)
During the time he was working, he began writing poems in Spanish
Died 1980
First collection of Poems:
First leaves
Like the Molave
Like the molave
Published by: Carmelo and Bavermann (1940)
Won 1st prize in the 1940 commonwealth literary contest beating
Jose Garcia Villas entry.
Not yet Rizal, not yet. Sleep not in peace
There are a thousand waters to be spanned;
There are a thousand mountains to be crossed;
There are a thousand crosses to be borne.
Our shoulders are not strong, our sinews are
Grown flaccid with dependence, smug with ease
Under anothers wing. Rest not in peace;
Interpretation:
Rizal cannot rest yet because we are still very dependent on others
and we need to become independent
Not yet, Rizal, not yet.
The land has need of young blood
And what younger than your own
Forever spilled in the great name of freedom
Forever oblate on the altar
The free?
Interpretation:
The Philppines needs young peoples blood like Rizal so we can
have the courage to fight for the country and we can have true freedom.
Not you alone Rizal

O souls and spirits of the martyred brave, arise!

Arise and scour the land!
Shed once again your willing blood!
Infuse the vibrant red into our thin, anemic veins;
Until we pick your Promethean tools and strong,
Out of the depthless matrix of your faith
In us and on the silent cliffs of freedom
We carve for all time your marmoreal dream!
Until our people, seeing, are become
Like the molave, firm, resilient, staunch
Rising on the hillside, unafraid
Strong in its own fibre, yes like the molave!
Interpretation:
Rizal cannot be alone. Heroes also need to help. They have to cleanse
the land of our problems and they are inspiring us to be like them so that we
can be like the molave.
Not yet Rizal, not yet.
The glory hour will come
Out of the silent dreaming
From the seven-thousand fold silence
We shall emerge, saying: WE ARE FILIPINOS
And no longer be ashamed
Interpretation:
So out of the dream, all of us Filipinos will be courageous enough
already saying that WE ARE FILIPINOS and no longer be worried.
Sleep not in peace
The dream is not yet fully carved
Hard the wood but harder the blows
Yet the molave will stand
Yet the molave monument will rise
And gods walk on brown legs.
Interpretation:
The dream is not yet finished, we might be like the heroes but there
are harder problems yet we will stand up and change that always and once
and for all, we have become like gods.
Sonia
By: Francisco Icasiano
Author:
Francisco Mang Kiko Icasiano
7th children of Francisca Bayan and Bonifacio Ycasiano
Wrote a column entitled From my Nipa Hut for the Sunday
Tribune Magazine
Born 1929
Died 1989 60 y.o.
Published Works:
A world in train
A nipa hut
Interesting facts
Novermber 28,1932
Pain, I have realized, its beautiful only when one can rise from its
depressing power.

Pleasure is for the beautiful body, but pain for the beautiful soul. Oscar
Wilde
NEW YORKER IN TONDO
By: Marcelino Agana, Jr.
New Yorker in Tondo" is a classic Filipino Play by Marcelino Agana,
Jr. It is a satire written in the 50's. It is a story about a girl named Kikay
who goes to New York and fell in love with it. She acquires all the New Yorkish
things - style, looks, language and manners. These things are very obvious
when
she
arrives
in
the
Philippines
specifically
in
Tondo.
Aling Atang, mother of Kikay, has been carried away by her daughters way of
living. She tries to converse with everybody in broken English.
Tony, childhood sweetheart of Kikay, decides to visit and catch things up with
her friend. He is a simple guy who got secretly engaged with their other
childhood
friend,
Nena.
Nena is a tomboyish type of girl. On her visit in Kikay's house, she finds her
friend different and weird. She gets irritated and even imitates Kikay's ways.
Totoy, the Tondo "canto boy" is their other friend who is funny and has a
secret love for Nenan which has only been revealded when the two females
had
a
clash.
Near the end, the secret love of the characters in the story is revealded. And
the two pairs end up in each other's arms. Kikay is back to her old self -simple and kind. Most of all, the Filipino value learned by the protagonist
which is "there is no place like home", is a lesson on love of country and its
culture.
Summary:
New Yorker in Tondo is a story of a girl named Kikay who went to New
York to study Hair Culture and Beauty Science. Upon going home after a
year, she acquires all the New Yorkish things like style, language, looks and
manner. She even influenced her mother with her way of living.
One day, Tony visited her for he heard that Kikay has already arrived.
Tony was Kikays sweetheart and they got secretly engaged before Kikay left.
While waiting for Kikay to wake up, Totoy and Nena also came. Totoy and
Nena were also Kikays and Tonys childhood friend.
Upon waking up, Kikay immediately entertained her friends. They are all
shock of what theyve seen. Kikay was transformed into a different girl. She
doesnt want to be called as Kikay instead she wants everybody to call her
Francesca. She tells them everything she experienced in New York and she
even keep on comparing New York from Tondo.
When Kikay and Tony had the chance to be alone, Tony was trying to
open the issue of them being engaged before she left. But Kikay didnt want
to listen; instead she keeps on ignoring Tony and even told him that being
engaged to him is just a childish act. She even degraded Tony by telling him,
Imagine a New Yorker marrying a Tondo boy! Tony gets irritated of what
Kikay acted, so he confronts her, reprimands her and tell her that New York
didnt bring her any good.
Kikay realizes everything that Tony said. She asks for forgiveness and
promises him that she will go back to her original self. She even said that
Francesca is dead and whos standing in front of him is Kikay. Tony forgave
her and they went back to each others arms.

Wanted: A Chaperon
Wilfrido Ma. Guerrero

Wanted: A Chaperon is a play in one act, written and directed

by Wilfrido Ma. Guerrero.It was first staged on Nov 1940 at the St
Cecilia's Hall of St Scholastica's College in Manila. It was published in
Wilfrido Ma. Guerrero, 13 Plays , Manila, 1948. Jose Villa Panganiban has
translated it as "Kailangan Isang Tsaperon" .
This household comedy in English tells about conflicts among a rich
couple and their children because of their opposing views on behavior and on
family norms. The conflicts here revolves on the parent's want for their
children to have a chaperon.
When published: 1948
Type of play/genre: English Comedy
Setting: living room of Don Francicos house (one of the major characters)
When is it set?: One Sunday morning, at about eleven.
Plot:
The play is about the traditional way of courting and accompanying
girls on a party and in other occasions. The portrayal of old customs is seen
visibly in the play. Don Francisco, one of the major characters is strict with
his daughter Nena. He doesnt want Nena go outside for any occasions
without any chaperon. One night, Nena goes out with Fred, her friend.
Unfortunately, rumors right after their date are spread. Many people think
that something bad is happened to the two of them. And for the townspeople
its inevitable. Until Dona Dolores, mother of Fred goes to Nenas house and
she is insisting that something is happened to his son and to Nena. It is Dona
Dolores plan to insist his son Fred to Nena but actually, nothing is really
happened. The same situation is happened also to Roberting, son of Don
Francisco. So to avoid these issues Don Francisco and Dona Dolores look for
chaperons for their children to guide them instead of the muchacho.
Characters:
Don Francisco - father
Doa Petra - mother
Nena their daughter
Robertring their son
Doa Dolores mother of Fred
Fred her son
Francisco the servant
Pablo the mayordomo
Message of the play:
Nowadays, people tend to be very judgmental. They easily give
comments and opinions to other people without certain evidences. They are
gossipers who make the issues rampant and very complicated.
Wilfrido Ma. Guerrero
(January 22, 1911 - April 28, 1995)
was a Filipino playwright, director, teacher and theater artist.
Guerrero wrote well over 100 plays, 41 of which have been
published. His unpublished plays have either been broadcast over the
radio or staged in various parts of the Philippines.\
His plays can be found in various anthologies: 13 Plays (first published
in 1947), 8 Other Plays (1952), 7 More Plays (1962), 12 New
Plays (1975), My Favorite 11 Plays (1976), 4 Latest Plays (1980),
and Retribution and eight other selected plays (1990). Guerrero also
published a family memoir, The Guerreros of Ermita (1988).
born in Ermita, Manila.
He wrote his first play at the age of 14 in Spanish, entitled, "No
Todo Es Risa." This play was produced at the Ateneo de Manila
University when he was 15.

 1947 he was appointed as Director of the Dramatic Club at

the University of the Philippines despite not having a degree, and he
held that position for sixteen years.[2]
1962, he organized and directed the U.P. Mobile Theater, which
travels around the Philippines to give performances.
Several of Guerrero's plays have been translated into and produced in
Chinese, Italian, Spanish, Tagalog, Visayan, Ilocano and Waray.
Six of his plays have been produced abroad:
"Half an Hour in a Convent" at the Pasadena
Playhouse, California; "
Three Rats" at the University of Kansas;
"Condemned" in Oahu, Hawaii;
"One, Two, Three" (premiere performance) at the University of
Washington, Seattle;
"Wanted: A Chaperon" at the University of Hawaii; and
"Conflict" in Sydney, Australia.[2]
He is the first Filipino to have a theater named after him within his
lifetime: The Wilfrido Ma. Guerrero Theater of the University of
the Philippines
Why He Started Writing?
o It was Guerrero's favorite aunt, Maria Araceli, who discovered his
writing ability. When he was 12 or 13 she noticed him writing on scraps
of paper and then hiding them inside his cabinet drawer.
o After his aunt's death, Guerrero wrote some of his most popular
comedies, "Movie Artists," "Basketball Fight," and "Wanted: A
Chaperone."
o He also made her the basis for the principal characters in "Forever"
(Maria Teresa) and "Frustrations" (Maria Araceli). Both women
are like my aunt: imperious, strong-willed, wise, but also
humane, he wrote.[2]
Awards
Guerrero received three national awards: the Rizal Pro-Patria Award
in 1961,
the Araw ng Maynila Award in 1969,
the Republic Cultural Heritage Award in 1972.
The U.P. Mobile Theater received two awards when he was director:
The Citizen's Council for Mass Media Trophy (1966) and the
Balagtas Award (1969)
1997, Guerrero was posthumously distinguished as a National
Artist for Philippine Theatre.[3