The document discusses the forms of resistance by Filipinos against American colonization, focusing on the Sakdal uprising and artistic expressions of dissent. It details the economic exploitation faced by peasants and portrays the Sakdalistas as honorable figures striving for independence despite being marginalized. Additionally, it highlights the impact of colonial repression on Filipino arts and literature, showcasing how playwrights used subterfuge to advocate for national identity and freedom.

1. Forms of ResistanceHow Two Classes of Filipinos Resisted American ColonizationAve Gaspar

2. Discontent in PeacetimeMany older Filipinos-say, those who were 50 years old in 1960-remember the American colonial period as “peacetime,” an era when there were no strikes and little violence, when life was serene... But a closer look at the 4 decades before the Japanese invasion will reveal a tale of exploitation and degradation of the masses by their own countrymen, attended by the benign indifference and neglect of the American authorities. Vol. 6 Kasaysayan. A Story of the Filipino People

3. Prevailing ConditionsAmerica’s free trade policy; huge demand for sugar, abaca, coconut and tobacco. Landed elite during the Spanish period further expanded their estates through outright land-grabbing, fraudulent land surveys, titling and foreclosure of mortgages.Kasamareceives what is left after deducting the all the cost of farming including use of farm tools and carabao. The Kasamareceives either 1/3 or 1/4 of what was left. Tenant (Kasama)’ s day to day expenses were often borrowed from their landlords. Land-grabbing was the order of the landownersVol. 6 Kasaysayan. A Story of the Filipino People

4. 1. Resistance from the Peasants

5. Sakdal Uprising The Sakdalista (coming from the Tagalog word sakdal, meaning "to accuse") movement was founded in 1930 by a right wing leader, Benigno Ramos, a writer and discontented former government clerk. The name of the movement was based on Émile Zola's 1898 letter criticising the French government, J'accuse.Sakdal began as a fortnightly populist tabloid, with articles tackling issues which were of interest to the Philippine masses: corruption and mismanagement under the American-sponsored Nacionalista administration, immediate independence for the Philippines, and the land reform problem.

6. Sakdal Uprising The Sakdalista (coming from the Tagalog word sakdal, meaning "to accuse") movement was founded in 1930 by a right wing leader, Benigno Ramos, a writer and discontented former government clerk. The name of the movement was based on Émile Zola's 1898 letter criticising the French government, J'accuse.Sakdal began as a fortnightly populist tabloid, with articles tackling issues which were of interest to the Philippine masses: corruption and mismanagement under the American-sponsored Nacionalista administration, immediate independence for the Philippines, and the land reform problem.

7. Sakdal Uprising Investigators concluded that the motive behind the uprising was the worsening economic condition The elite bitterly criticized the uprising; MLQ called its leader (Benigno Ramos) “and irresponsible and crafty demagogue.” Colonial authorities and media described the Sakdalistas “astonighingly ignorant,” “economically helpless,” “victims of the local cacique,” and “the remorseless usurers.”

8. What they believe in (Sakdal)They believe that the country’s God-given riches was controlled by the Catholic church, foreigners and a few rich Filipinos. They see politicians’ lack of will to achieve independenceThis task should not be left to those who had lost the ability to suffer and work hard for the sake of the country. They are living examples of honor, being oppressed and poor, and possessing pure hearts capable of humility, compassion and sacrifice.

9. What they believe in (Sakdal)They emulate the life of Jesus Christ and the heroes of 1896 revolution particularly Jose Rizal.They considered their work as a mission with a heavy cross to be borne. Upon occupying the municipal building, they destroyed the stars and stripes; there was no looting or burning. They confiscated pistols and issued receipt; they fed the passengers of the buses they stopped. They did this because of their belief that they must be honorable, true representatives of the people and heirs of the 1896 struggle for independence.

10. What they believe in (Sakdal)They want to show the world they are not accepting passively the terms of American colonialismPolitical and economic freedom cannot be fully realized if their souls remained subjects to alien rule. Sakdal uprising may be a failure in the eyes of the outsiders, but to insiders, they were able to show the true meaning of being Sakdalistas: to be honorable though poor, to know how to sacrifice, and to live and die with dignity.

11. 2. Resistance from the Artisans

12. Arts and Literature ResistanceAmerican authorities enacted “Sedition Law” in 1901. Any Filipino advocating independence or separation from the United States would be punished severely by death or imprisonment. Plays and drama’s advocating independence were labeled “seditious plays” Filipinos employed a variety of subterfuges: allegorical verses, talinhaga, double-meanings, etc..

13. TanikalangGintoJuan Abad’s “TanikalangGinto” first produced on July 7, 1902 and banned on May 10, 1903 after performance in Batangas and was fined $2,000.The supreme court later on reversed the decision.

14. TanikalangGintoThe play revolves around Liwanag (“light,” “the new Pilipinas after departure of Spain), who is promised to the hero Kulayaw (“loyal,” the Filipino freedom fighters, also the penname of Abad).Her adopted father Maimbot, (“avaricious” the U.S.), approves the proposed marriage. However, he later withdraws his consent and bans Kulayaw from his house. He entreats Liwanagto abandon Kulayaw and tries to bribe her with gifts. He uses Nagtapon (worthless Filipino collaborators who see a life at ease under the Americans) to spy on his brother, Kulayaw.

15. TanikalangGintoNagtapon disowns their mother Dalita(poor and suffering Mother Country and the masses). Dalita dies abandoned by her sons. Maimbot’s gifts fail to move Liwanagso he ties her to a balete and leaves her to Nagtapon. Kulayawsearches for Liwanag and once he finds her, Nagtaponkills her. Diwa(“spirit” persistence in struggle) takes Liwanagto heaven. Diwapromises to Kulayawthat Liwanagwill return to him after she has circled the universe. The play ends with a tableau: Nagtaponis possessed by demons while Kulayaw is crowned by spirits after delivering an emotional speech.

16. Other Dramatists Aurelio Tolentino – master of subterfuge; was able to weave in the national anthem and the flag in his plays. He wrote, directed and played the lead in “Kahapon, Ngayon at Bukas.” He was arrested 9 times and sentenced to life imprisonment. His sentence was later on reduced to 15 years. He also wrote poems, short stories, sarswelas, essays, editorials in Talgalog, Spanish and PampangoHe fought in Bicol during the Fil-Am warThe play delved on intense love of country exposing foreign economic control, and a call for armed struggle.

17. Thinking PointsWhat does these 2 differing approaches tell about the Filipino? Our great grandfathers had intense love for our country. What happened? Why was this not passed on to the next generation? What factors got in the way? How do we awaken the lost love for our country?