Enhancing the Teaching Identity of School Librarians Through Developing a Reading Program with Philippine Literature in English (PLE) As Subject Content

Enhancing the Teaching Identity of School Librarians Through Developing a Reading Program with Philippine Literature in English (PLE) as Subject Content

Paper Presentation For: Regional Conference on School Librarianship on "Directions for the Future of School Libraries" Sponsors: Philippine Association of School Librarians, Inc. (PASLI) in cooperation with Ateneo de Manila University-Rizal Library, Ateneo High School Educational Media Center, Private Secondary School Administrators Association of the Philippines (PRISSAAP) and the International Association of School Librarianship (IASL) Venue: Bacolod Pavillion Hotel, Bacolod City, Negros Occidental, Philippines April 26-27, 2012

By Roderick B. Ramos De La Salle University-Manila [email protected]

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

1 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 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 content- based 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 university faculty, administrators, and students of the many benefits of the literature librarian- teaching 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.

METHODOLOGY

Teaching and the Literature 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 librarian- faculty 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).

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 SS P Essay Play Literary Selection Aida Rivera-Ford 1 The Chieftest Mourner (SS) Alberto Florentino 1 The World is an Apple (Play) Alfredo Q. Gonzalez 1 The Will of the River (E) Arturo Rotor 1 Zita (SS) Bienvenido Lumbera 1 The Day the Dancers Came (SS) Bienvenido Santos 1 Scent of Apples (SS) Carlos P. Romulo 1 Carmen Guerrero- Nakpil 1 Cirilo Bautista 1 Edilberto Tiempo 1 To Be Free (N) Emmanuel Torres 1 F. Sionil Jose 1 Federico Licsi Espino 1 Francisco Arcellana 1 Divide by Two (SS) 1 What is an Educated Filipino? Francisco Benitez (E) Gilda Cordero- Visitation of the Gods (SS) Fernando 1 Faith, Love, Time & Gregorio Brillantes 1 Dr. Lazaro (SS) Myths of the Filipino Horacio de la Costa 1 Businessman (E) Jesus Balmori 1 My Nipa Hut (P)

Jesus Peralta 1 Jose Garcia Villa 1 Footnote To Youth (SS) Juan C. Laya 1 Kerima Polotan- The Hand of the Enemy (N) Tuvera 1 1 1 Leon Ma. Guerrero 1 What are Filipinos Like? (E) How My Brother Leon Brought Home a Wife (SS) Manuel Arguilla 1 Rice (SS) Mar Puatu 1 Marcelino Agana, Jr. 1 New Yorker in Tondo (Play) Maximo Ramos 1 N.V.M. Gonzales 1 1 The Bamboo Dancers (N) Four Values in Filipino Drama Nicanor Tiongson (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 Nick Joaquin 1 1 1 1 Navels (N) Ophelia Dimalanta 1 Montage (P) Paz Marquez Benitez 1 Dead Stars (SS) R. Zulueta da Acosta 1 Like the Molave (P) Raul Manglapus 1 The Miseducation of the Renato Constantino 1 Filipinos (E) Ricaredo Demetillo 1 Baroque: The Filipino Rodrigo Perez III 1 Obsession (E) Rolando Tinio 1 Salvador P. Lopez 1 Literature and Society (E) Severino Montano 1 Sabina (Play) Stevan Javellana 1 Without Seeing the Dawn (N) Batik Maker (P) Virgina Moreno 1 Order for Masks (P) Wilfrido Ma. 1 Forever (Play) Guerrero Wilfrido Nolledo 1 Turn Red the Sea (Play) 45 7 11 9 13 10 38

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 Novel SS P Essay Play Literary Selection Aida Rivera-Ford 1 The Chieftest Mourner (SS) Love in the Cornhusks (SS) Alberto Florentino 1 The World is an Apple (Play) Alejandro Roces 1 My Brother‟s Peculiar Chicken (SS) We Filipinos are Mild Drinkers (SS) Alfredo Q. Gonzalez 1 The Will of the River (E) Amador Daguio 1 Wedding Dance (SS) Andres Cristobal 1 The Quarrel (SS) Cruz Arturo Rotor 1 At Last This Fragrance (SS) Zita (SS) Benjamin Pascual 1 Social Call (SS) Bienvenido Lumbera 1 The Nationalist Literary Tradition (E) Bienvenido Santos 1 1 The Day the Dancers Came (SS) Scent of Apples (SS)

Villa Magdalena (N) Carlos Angeles 1 Landscape (P) Carlos Bulosan 1 My Father Goes to Court (SS) My Father‟s Tragedy (SS) The Laughter of My Father (SS) Carmen Guerrero- 1 My Husband‟s Roommate (E) Nakpil Where‟s the Patis? (E) Cirilo Bautista 1 Charts (P) Parables (P) Pedagogic (P) Seagull (P) Doreen Fernandez 1 Why Sinigang? (E) Edilberto Tiempo 1 1 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 Edith Tiempo 1 1 1 1 (P) Emmanuel Torres 1 Woman at the Window (P) Estrella D. Alfon 1 Magnificence (SS) F. Sionil Jose 1 1 The God Stealer (SS) Mass (N) The Pretenders (N) Francisco Arcellana 1 Divide by Two (SS) The Flowers of May (SS) The Mats (SS) What is an Educated Filipino? Francisco Benitez 1 (E) Gemino Abad 1 Things (P) Gilda Cordero- People in the War (SS) Fernando The Visitation of the Gods 1 (SS) Distance to Andromeda (SS) Faith, Love, Time & Gregorio Brillantes 1 Dr. Lazaro (SS) 1 Myths of the Filipino

Horacio de la Costa Businessman (E) Ibrahim Jubaira 1 A Canto of Summer Isagani R. Cruz 1 Criticism in the Classroom (E) Jesus Balmori 1 My Nipa Hut (P) Jose Garcia Villa 1 1 Footnote To Youth (SS) God said, “I Made a Man” A Poem Must Be Magical Jose Rizal 1 The Indolence of the Filipino (E) Juan C. Laya 1 His Native Soil (N) Juan Gatbonton 1 Clay (SS) Kerima Polotan- 1 1 The Hand of the Enemy (N) Tuvera Sounds of Sunday (SS) The Trap (SS) The Virgin (SS) Leon Ma. Guerrero 1 What are Filipinos Like? (E) Lina Espina Moore 1 And Then the Weeping (SS) How My Brother Leon Brought Home a Wife (SS) 1 Midsummer (SS) Manuel Arguilla Rice (SS) Marcelino Agana, Jr. 1 New Yorker in Tondo (Play) Miguel Bernard S.J. 1 Philippine Literature Perpetually Inchoate (E) N.V.M. Gonzales 1 1 Children of the Ash-covered Loam (SS) Hunger in Barok (SS) A Season of Grace (N) 1 Four Values in Filipino Drama Nicanor Tiongson 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 Nick Joaquin 1 1 1 Navels (N) Ophelia Dimalanta 1 Quija Board (P)

Paz Latorena 1 Desire (SS) Paz Marquez 1 Dead Stars (SS)

Benitez Pura Santillan- 1 Aunt Isabel (E) Castrence The Urgency in Today‟s Living (E) R. Zulueta da Acosta 1 Like the Molave (P) Renato Constantino The Miseducation of the 1 Filipinos (E) Resil Morales 1 Ark (SS) 1 Baroque: The Filipino Rodrigo Perez III Obsession (E) Rony Diaz 1 Death in a Sawmill (SS) Salvador P. Lopez 1 Literature and Society (E) Stevan Javellana 1 Without Seeing the Dawn (N) Batik Maker (P) Virgina Moreno 1 Order for Masks (P) Half an Hour in a Convent (Play) Wilfrido Ma. The Three Rats (Play) Guerrero 1 Wanted: A Chaperon (Play) 55 9 27 10 15 5 102

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 Novel SS P Essay Play Literary Selection 45 7 11 9 13 10 38 55 9 27 10 15 5 102 66 9 27 12 18 11 107

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). One-

10 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 Literature school librarian and students may be fundamentally assisted through:

The Triangle Approach

Literary Work

Writer

Reader

Critical Perspectives on Literature

Categories of Observation Kinds of Questions and Comments THE WRITER

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?

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? Artistic/Literary Tradition What does this remind me of? How is it related to other works, storylines, characters or myths?

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 will be taken up while variety in the study of chosen literary selections permits both the

Literature 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 Literature 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 so- called “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 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 Literature 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 order as main ingredient can become obvious in accomplishing one single library discussion group. It is a dimensional approach when every Literature 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

Literature 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 Literature 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 Literature 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.

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 Literature school librarian in each library discussion group session surely improve student‟s reading, speaking, listening and writing skills.

Dones emphasizes Literature 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

16 achieve an aesthetic satisfaction in the hands of Literature 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 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-Literature School Librarian Collaboration

Librarians have to ask themselves and put into action what they plan to accomplish for the reading public. Faculty-Literature 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 Literature school librarians will be willing to collaborate. The Literature 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 Literature 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. Literature 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 Literature 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 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 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 Literature 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 Literature 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 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

20 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 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

21 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

“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.

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.

Literature School Librarian Discussion Group Participants What central idea(s) have you The poetry speaks of a place that is labeled as savage because a found out? 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 The central idea is negative since it disturbs the man from time or NEGATIVE? Has it been to time. The man is fainted whenever he visits san Leonardo displeasing/pleasing the and somewhat uncomfortable in telling the readers that he has persona 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 The poetry does not give details of the memory, but in one a savage town? Are the details point, one would realize implications from specific lines in the of the memory stated/given? poetry, thereby serving as clues to the child‟s pain. I would Why not? 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 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, un- wholesome.

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 Yes, he is at war with these people. He dislikes each of them. war with these people? 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 It happens to be his hometown? He has to go back and from time to time/year to year? reminisce because that has always been typical among Has it become pleasant and Filipinos. It is simply trying to find MENTAL favorable? If not, why does he ACTUALIZATION of things you desire to remember most, come periodically? Would this whether such is fine or not. make any good to him? 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? I think he is de-spirited. He has not attained the needed peace

Could he blame himself for for himself. San Leonardo is still bothersome to him. The what he was before and for man has an unforgiving heart. Despite of his present status, he what he is now? 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 would you try to disregard un- of the persons at San Leonardo to attain humanness and love wholesome scenes of the past? 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. Know exactly what the problem is. Check what and who has It is an instinctive work of the caused it? Justify each of them. Recognize the effects piece mind that stimulates one to by piece logically. Take and accept the problem as typical think over matters that are item of everybody for some learning. 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?

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 Literature 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 Literature 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,

25 mysteries of fiction, etc. The literature 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.

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,

26 and his inspiration to read the particular work will alert the Literature school librarian on the type of questions the student-reader will uncover from point to point.

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. Literature School Librarian‟s Point of View – This point of view of the Literature 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 student-reader most importantly.

Examples:

Has the Literature 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 Literature school librarian constructive enough to

compel the reader to interact freely and lively?

Is the Literature 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 Literature 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 Literature 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?

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 Literature school librarian can make He may resort to proceed to another instrument or move to a different literary selection that similarly impact 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 Literature 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 undersore the student-reader‟s strengths and weaknesses, are techniques supplied by

the Literature school librarian?

If follow-ups have been made, is comparison of results inevitable?

Is the group discussion process successful or not?

The interaction is expected to be remarkable. Both the Literature school librarian and the student-reader boost up each other‟s roles in the four corners of the library room. Consequently, modernizing status of the professional Literature school librarian is observed while student- reader‟s confidence on seeking the Literature 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

Literature 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.

WORK CITED

ASLA Australian School Library Association (2004). Standards of professional excellence for teacher librarians. Retrieved January 2, 2012, from http://www.asla.org.au/policy/standards.htm

Association of College & Research Libraries (2011). Literature Librarians and Faculty Partnering for Academic Success. Retrieved January 8, 2012, from http://www.youtube.com/watch?v=icxmYxHyDxw

Balling, Gitte, Lise Alsted Henrichsen, Laura Skouvig (2008). Digital reading groups: renewing the librarian image. New Library World, 109 (1/2), 56-64

Chavez, Marites K. (2012). Interview. Cavite: Congressional National High School.

Colegio de San Juan de Letran (2012). High School Curriculum / Subject List. Retrieved

January 14, 2012, from http://www.letran.edu/highschool/hs_curriculum.php

Dones, Marichelle G. (2009). Philippine literature: a student guide. Manila: Mindshapers.

Gruenberg, Estrellita Valeros (1985). The perceived canon of Philippine literature. Manila: De La Salle University.

Lacia, Ferdilyn C… [et al.]. (2003). The Literatures of the Philippines. Manila: Rex Book Store.

Lamb, Annette and Larry Johnson (2007). Theory to Practice: Literature Circles. Retrieved January 24, 2012, from http://eduscapes.com/ladders/themes/circles.htm

Maramba (1993). Early Philippine literature from ancient times to 1940: with teaching notes and study guides. Pasig City: Anvil Publishing.

Marbel, Maribel V. (1999). A Lecture Guide in the Study of Philippine Literature.

Navarro, Marifi (2012). Interview. Paranaque: Elizabeth Seton

Montealegre, Ma. Antoinette Cusi (1991). An activity-based modular approach to the teaching of Philippine literature in English: a handbook. Manila: De La Salle University.

Romero, Perlita P. and Pacelli S. Eugenio (1997). An approach to literature: modern genres from America, Britain and the Philippines. Quezon City: Katha Publication.

Santos, Victoria (2012). Interview. Manila Science High School.

Saunders, Laura (2002). Teaching the Library: Best Practices. Library Philosophy and Practice 4(2)

Sialongo, Erlinda B… [et al.]. (2007). Literatures of the world. Manila Rex Book Store.

Sicat, Ma. Teresa M. and Naida U. Rivera (2004). Affirming the Filipino: an anthology of Philippine literature. Quezon City: U.P. Dept. of English and Comparative Literature.

Site Ground: Hosting Suitable for You. (2012). How to Create a Blog Site. Retrieved January 24, 2012, from http://www.siteground.com/tutorials/blog/

The Teaching Library, Washington State Library IL Project. The Role of libraries and Librarians in Information Literacy for Regional Conference: Promoting Information Literacy for Lifelong Learning (2006). Retrieved December 15, 2011, from http://www.slideshare.net/plaistrlc/the-role-of-libraries-and- librarians-in-information- literacy

Valois, Wilfredo M. (2010). Preparatory Crash Course in Literature for High School Students

in the Philippines. Retrieved January 12, 2012, from http://ezinearticles.com/?Preparatory-Crash-Course-in-Literature-for-High-School-Students- in-the-Philippines&id=5624872

Vandersteen, Julius (2011). The Librarian's Role in Activities to Promote Reading With School Teachers. Retrieved December 20, 2011, from http://www.ehow.com/info_7925339_librarians-promote-reading-school-teachers.html