Philippine Literature during the Japanese Era

Background
During the Japanese Occupation, when Tagalog was favored by the Japanese military authority, writing in
English was consigned to limbo. It picked up after the war, however, with a fervor and drive for excellence
that continue to this day. Stevan Javellana's "Without Seeing the Dawn" (1947), the first postwar novel in
English, was published in the United States. In 1946, the Barangay Writers Project was founded to help
publish books in English.
Against a background marked by political unrest and government battles with Hukbalahap guerrillas,
writers in English in the postwar period honed their sense of craft and techniques. Among the writers who
came into their own during this time were: Nick Joaquin, NVM Gonzalez, Francisco Arcellana, Carlos
Bulosan, F. Sionil Jose, Ricaredo Demetillo, Kerima Polotan Tuvera, Carlos Angeles, Edilberto K. Tiempo,
Amador Daguio, Estrella Alfon, Alejandrino Hufana, Gregorio Brillantes, Bienvenido Santos, Dominador
Ilio, T.D. Agcaoili, Alejandro R. Roces, Sinai C. Hamada, Linda Ty-Casper, Virginia Moreno, Luis Dato,
Gilda Cordero-Fernando, Abelardo and Tarrosa Subido, Manuel A. Viray, Vicente Rivera Jr., and Oscar de
Zuiga, among many others.
Fresh from studies in American universities, usually as Fulbright or Rockefeller scholars, a number of
these writers introduced New Criticism to the country and applied its tenets in literature classes and
writing workshops. In this way were born the Silliman Writers Summer Workshop (started in 1962 by
Edilberto K. Tiempo and Edith L. Tiempo) and the U.P. Writers Summer Workshop (started in 1965 by the
Department of English at the U.P.). To this day, these workshops help discover writing talents and develop
them in their craft.
Culture
The arrival of the Japanese caused tremendous fear, hardships and suffering among the Filipinos. The
Filipino way of life was greatly affected during the Japanese period. The Filipinos lost their freedom of
speech and expression. The development of art was also stopped. Filipinos greatly expression. The
development of art was also stopped. Filipinos greatly feared the "zoning". There were Filipinos spies
hired by the Japanese to point those who were suspected of being part of the guerilla movement. The
Japanese made some changes in the system of education.
Music
Despite the terror and uncertainty brought by the Second World War and the Japanese rule in the country,
playing and listening to music were among the leisure activities that somehow made life bearable for
Filipinos.
Under their rule, the Japanese imposed their own music on the country. Japanese music was heard daily
in radio broadcasts. Their songs were also taught in public schools. Students, however, never took these
songs to heart.
The performance of jazz and Western music identified with the allied nations of the war was prohibited.
Hence, the Japanese held conferences and lectures on Oriental music in Manila with the hope of diverting
the loyalty of the Filipinos away from the Americans. The first was a Japanese Musical Mission to the
Philippines held on May 7, 1943, with the support of the New Philippine Musical Federation headed by
Kosak Yamada.

The Japanese nevertheless encouraged the creation and performance of music with native themes
through music contests. Concerts were also a common form of amusement for Filipinos at the time and
the Metropolitan Theater became an important venue for cultural events.
Classical music, including opera, flourished during the war. For instance, the New Philippine Symphony,
the first all-Filipino orchestra, was organized. It performed an all-Philippine symphonic program in July
1942, with Francisco Santiago as conductor. The Philippine Conservatory of Music, an affiliate of the
Philippine Womens University, was one of the few music schools in the country that opened during the
war.
Music-making remained a popular pastime in homes. Families sang and played musical instruments to
entertain themselves. On special occasions, families held special concerts for themselves, as well as their
friends. All these prove that even during turbulent times, Filipinos love of music could never be
suppressed.
Poetry
Three types of poems emerged during this period. They were: 1. Haiku a poem of free verse that the
Japanese like. It was made up of 17 syllables divided into three lines. The first line had 5 syllables, the
second, 7 syllables, and the third, five. The Haiku is allegorical in meaning, is short and covers a wide
scope in meaning. 2. Tanaga like the Haiku, is short but it had measure and rhyme. Each line had 17
syllables and its also allegorical in meaning. 3. Karaniwang Anyo (Usual Form) like those mentioned
earlier in the beginning chapters of this book.
Drama
The drama experienced a lull during the Japanese period because movie houses showing American films
were closed. The big movie houses were just made to show stage shows. Many of the plays were
reproductions of English plays to Tagalog. The translators were Francisco Soc Rodrigo, Alberto Concio ,
and Narciso Pimentel. They also founded the organization of Filipino players named Dramatic Philippines.
A few of playwriters were: 1. Jose Ma. Hernandez wrote PANDAY PIRA
2. Francisco Soc Rodrigo wrote sa PULA, SA PUTI
3. Clodualdo del Mundo wrote BULAGA (an expression in the game Hide and Seek). 4. Julian Cruz
Balmaceda wrote SINO BA KAYO?, DAHIL SA ANAK, and HIGANTE NG PATAY. C.
Short Story
The field of the short story widened during the Japanese Occupation. Many wrote short stories. Among
them were: Brigido Batungbakal , Macario Pineda, Serafin Guinigindo , Liwayway Arceo , Narciso Ramos,
NVM Gonzales, Alicia Lopez Lim, Ligaya Perez, and Gloria Guzman. The best writings in 1945 were
selected by a group of judges composed of francisco icasiano , jose esperanza cruz, antonio rosales,
clodualdo del mundo and teodoro santos. As a result of this selection, the following got the first three
prizes: first prize: narciso reyes with his lupang tinubuan second prize: liwayway arceos uhaw ang tigang
na lupa third prize: nvm gonzales lunsod nayon at dagat-dagatan Noteworthy writer of the period was
Carlos P. Romulo who won the Pulitzer Prize for his bestsellers I SAW THE FALL OF THE PHILIPPINES, I
SEE THE PHILIPPINES RISE and his MOTHER AMERICA AND MY BROTHER AMERICANS. Journalists
include Salvador P. Lopez, Leon Ma. Geurrero, Raul Manglapuz and Carlos Bulosan. Nick Joaquin
produced THE WOMAN WHO LOOKED LIKE LAZARUS. Fred Ruiz Castro wrote a few poems. F.B.
Icasino wrote essays in The Philippine Review.

Literature
Because of the strict prohibitions imposed b the Japanese in the writing and publishing of works in
English, Philippine literature in English experienced a dark period. The few who dared to write did so for
their bread and butter or for propaganda. Writings that came out during this period were journalistic in
nature. Writers felt suppressed but slowly, the spirit of nationalism started to seep into their
consciousness. While some continued to write, the majority waited for a better climate to publish their
works. Carlos Bulosans works included THE LAUGHTER OF MY FATHER (1944), THE VOICE OF
BATAAN, 1943, SIX FILIPINO POETS, 1942, among others. Alfredo Litiatco published With Harp and
Sling and in 1943, Jose P. Laurel published Forces that Make a Nation Great. The Commonwealth
Literary Awards gave prizes to meritorious writers. Those who won were: 1. LIKE THE MOLAVE by
Rafael Zulueta da Costa (Poetry) 2. HOW MY BROTHER LEON BROUGTH HOME A WIFE by Manuel
E. Arguilla (Short Story) 3. LITERATURE AND SOCIETY by Salvador P. Lopez (Essay) 4. HIS NATIVE
SOIL by Juan Laya (Novel) President Manuel L. Quezons autobiography THE GOOD FIGHT was
published posthumously. Radio broadcasts echoed the mingled fear and doubts in the hearts of the
people. Other writers of this period were Juan Collas (19440, Tomas Confesor (1945), Roman A. de la
Cruz and Elisa Tabuar .