1. Prepared by: Nhonnie Jean Mayores

2. Introduction
The Jeremiad
 The concept of Jeremiad is devised from the biblical
prophet Jeremiah who prophesied the coming downfall of
the kingdom of Judah. He gloomily denounced Israel for
its religious and moral iniquities, and called on to his
favour. Finally, the speaker offers a prophetic vision of
what is to come if they repent and reform (Murphy and
Bercovitch 1978)

3.  There are two versions of the jeremiad genre; the
traditional versions serves to confirm hierarchy and
fixed positions in a settled society.
 Traditional jeremiad unleashes a torrent of guilt
upon its audience by depicting a static society.
Condemned to fall perpetually from its mythic
roots. While the reformist version of jeremiad adds
a dimension of progress, i.e. the hope of public
improvement (Bercovitch 1978)

4. Jeremiadic Rhetoric
 Jeremiadic Rhetoric has been said to be a
distinguishing construction that exchanged with
cultures and governments to aid in shaping of an
idyllic society. Every group, nation, or culture that
has met the hands of oppression, imperialism, or
colonialism-in whatever forms, shapes, and
fashions devise a way to achieve social change
(Willie J. Harrel Jr. 2008).

5.  Maria Miller Stewart, 1831-1833
 Harell shows how Stewart discussed the growth
and development patterns of Jeremiad as a means
of achieving civil liberties and equality for its
constituents when delivered by prominent Black
Women Jeremiahs of nineteenth-century America.
In his study he presented that the rhetoric of
Jeremiad can aptly be applied, then, to Stewart’s
discourse of dissent as she blatantly attacked the
moral fabric and effects of slavery and racism in
America, making her Americas preeminent Black
Woman Jeremiah.

6.  According to Jouni Tilli (2012) it is important
to note the relationship between the
individual and the community in jeremiadic
typology. He talks about the salvation which
is concerns to the welfare of the people, and
thus the responsibility of the individual
coincides with the responsibility of the whole
people.

7. Kahapon, Ngayon at Bukas
 It was first presented on Teatro Libertad in Manila
on May 14, 1903 and its focus is the triumph of
Inang Bayan (motherland). It is anti-imperialist
play attacking the new colonizer that time the
Americans, while not forgiving the old ones
Mother Spain and Old China, who want to feast
on the Philippines wealth (Noel Sales Barcelona,
Bulatlat 2009).
 The drama was originaly written in Tagalog and
then translated by the same author
inKapangpangan, which he called Napon, Ngeni
at Bukas ( Kahayon and Zulueta 2000).

8.  The drama was written by Aurelio Tolentino during the
American period thereby, considering it as part of
postcolonial literature. And postcolonial perspective
according to Homi K. Bhaba, formulate critical
revisions around cultural differences, social authority,
and political discrimination in order to reveal the
antagonistic and ambivalent moments within the
rationalizations of modernity. This criticism also bears
witness to the unequal forces of cultural
representation involved in the contest for political and
social authority.

9. Characters
 Inang Bayan (
Philippines)
 Tagailoi (Filipino
Tagalog)
 Haring Bata ( Chinese)
 Dilat na Bulag (Spain)
 Matanglawin (Spanish
Government)
 Malaynatin ( American
Government)
 Masunurin (Filipino
Girl/Women)
 Walang Tutol (Filipino
Men)
 Asal Hayop (Filipino
Traitor)
 Dahumpalay (another
traitor)
 Bagong Sibol ( America)
 Halimaw ( Friar)

10. Three Acts
 KAHAPON – were presented in the FIRST
ACT
 Tagailog leads an armed revolt that drives
away Haring Bata.
 Ngayon – showed in the SECOND ACT
 Tagailog is imprisoned for insulting Dilat-na-
Bulag, but is able to escape, leaving behind
a corpse intended to be mistaken for a dead
Tagailog.

11.  The deception is able to throw off Tagailog’s
enemies, and he is able to organize a revolution
that overthrows Matanglawin.
 Bukas – THIRD ACT Likely project a positive future
of Inang Bayan from the American Government
 Bagong Sibol and Malaynatin who had come to
offer friendship even as Tagailog and his men were
still fighting Matanglawin, turn out to be the enemies
of the Filipinos, just like Haring bata and Dilat-na-
Bulag

12. Inang bayan plead a
crowed of children to
ask Bagong Sibol for
freedom and the
latter he prophesied
to relent. The play
concludes with
general rejoicing
among the Filipinos.

13. Analysis of Inang Bayan
 Inang Bayan simply symbolizes the country
Philippines. The play presented her character like
a maiden being serenaded by three different
foreigners who were seemingly captivated by her
enchanting beauty. And Inang Bayan welcomed
those Strangers warmly. However, after some time
the strangers whom she entrusted for friendship
grew greedy and selfish. Somehow she was
betrayed not just by her own blood Asalhayop and
Dahumpalay but of the strangers who abused and
oppressed her and her children (The Filipinos).

14.  The situation seemingly shows a “BATTERED
WOMAN” with the abused Children who were
thirsty and hungry to be free from slavery.
 Also the play presented the Filipinos love for
freedom and concern for the motherland.
 A sketched of the typical Filipino men, and
women were also directed creatively in the
scenes and in different acts.

15.  Conventional Women who followed very well
without objection, and the Brave Men who
fearlessly fight in the battle.
 A mother who wish no harm for her children, and
occasionally reminds them .
 Oppressors from Western countries who made
them slaves in their own land, having the power,
and the capital to do so. But who are truly afraid
of the Filipino who are not really barbaric and
hoodwink.

16. Three Historical period of
colonialization
 Spanish Colonial Period (1521-1898)
· • Filipinos during the Spanish colonial rule enjoyed
very limited rights and freedoms since the
colonizers, i.e. both the State and the Catholic
Church, viewed and treated them as
subjects,barbarians and savages. The Spanish
colonizers throughout the period of colonization
imposed numerous exploitative and unjust rules
and requirements which affected the economic,
political, and social dimensions of life of the native
population

17.  Philippine history under the American colonial rule
is replete with events demonstrating the people’s
struggle to assert and defend their rights and
freedoms in the midst of massive military
campaigns of repression, laws against sedition,
and other coercive measures to ensure stability of
the colonial social order.
 Japanese Occupation (1942-1945)
 · • Under the Japanese rule, Filipinos lived in an
atmosphere of fear, prejudice, uncertainty and
repression. Civil liberties were curtailed and
abuses were committed by the members of the
Japanese Imperial Army and the Kempetai
(Military Police).

18.  The Japanese colonizers made clear their rules
and policies which if violated would entail
 serious reprisals or punishment. Among the rules
imposed were: the occupying forces should not
only be respected but also obeyed without
question; locals were to be friendly to Japanese
military personnel and civilians; and disturbing
the peace and spreading rumors were acts
punishable by death (Constantino,1978, p. 56).

19. Jeremiadic rhetoric and the
Play
 The Jeremiadic rhetoric implies a social
movement in order to shape the community with
the agent of self and social improvement. And
this could be used in analyzing the play, to
interpret the new forms and shapes of
oppression. Thereby finding the agent,
individual or collective that enforce activism in
our social and political context, from the relation
of the present to the past social realities and for
the futuristic becoming of Inang Bayan.

20. Assumption
 the bukas echoed by the play is continuum,
and the goal to achieve a positive future of
Inang Bayan is a none stop struggle. The new
forms, and shapes of oppression are stiil
visible. And the people are still resisting to be
hoodwinked in our social conditions and
political struggles. Inang Bayan’s voice is
merely echoeing within the land. And she is
always calling for her children to act for her.
The untrustworthy liberators are now wearing
a different mask inside and outside the
government.(politics, capitalism, etc.)

21. THANK YOU !!!
HAPPY V-DAY!
“Be aware, Be conscious”