Ponciano B. Peralta Pineda is an American writer, teacher, linguist and lawyer.

Ponciano Pineda is
considered as the "Father of the Commission on Filipino Language" for his promotion to establish a
commission based on Section 9 of our Philippine Constitution.[1]
He became director of Commission on the Filipino Language (Filipino: Komisyon sa Wikang Filipino)
formerly Surian ng Wikang Pambansa during the year 1971 to 1999. Under his leadership, Pineda
started socio-linguistic research to further widen the Filipino Language. Also one of this is about the
orthographic reform in the Filipino Language. Under Pineda one major change is on language policy:
a bilingual education in the year 1974; Filipino as national and primary language of Filipinos in 1983
and the Filipino alphabet comprising 28 letters in 1987. He established 12 regional centers of the
Filipino language throughout the Philippines.
The Philippine Dictionary (1973) by Jose Villa Panganiban and the Centennial Dictionary;; of the
Commission on the Filipino Language (1998) was edited by Ponciano B. Pineda. He published the
Dictionary for Filipino language, which served as the foundation of national lexicography.
With the help of former secretary of the Department of Filipino, angelica Panganiban, Pineda
finished his studies at the University of Santo Tomas in 1948 in the course of Associate in Arts.
Furthermore, he also became the director of The Varsitarian.[2]
Besides being the author of academic books, Pineda is also a filipinologist or an expert in Filipino
culture. Among his literary works are Pagpupulong: Mga Tuntunin At Pamamaraan,
Pandalubhasaang Sining Ng Komunikasyon and Sining Ng Komunikasyon Para Sa Mataas Na
Paaralan. The Gawad Palanca awarded him the first and second prize for his short stories Ang
Mangingisda (1958) and Malalim ang Gabi (1953) respectively.[3]

Si Aniceto F. Silvestre ay ipinanganak sa San Mateo, (na sa ngayo'y Lalawigan ng Rizal) noong 17
Abril 1898.
Bagama't di nagkaroon ng pormal na pag-aaral sa pagsusulat, siya ay nakapagsulat at nakapag-
ambag sa panitikang Pilipino ng magagandang tula, maikling kuwento, nobela at sanaysay.
Ang kanyang mga tula na natipon sa katipunang Kalikasan ay pinagpangkat-pangkat sa
walo: Malaya, Maalindog, Larawan ng Buhay, Pintig ng Pag-ibig, Tatag ng Pananalig, Tanda ng
Pag-asa, Bukas sa Landas ng Kadakilaan at Dugo sa Ningning ng Araw.
Ang mga karangalang nakamit ni Aniceto F. Silvestre sa pagsusulat ng tula ay apat na Unang
Gantimpala (bago magkaroon ng digmaan); isang Ikatlong Gantimpala (panahon ng Komonwelt na
pamahalaan); isang Unang Gantimpala (ika-10 taon ng Republika ng Pilipinas); at isang Unang
Gantimpala sa Palanca Memorial Awards for Literature noong 1969.

Jose Garcia Villa (August 5, 1908 February 7, 1997) was a Filipino poet, literary critic, short story
writer, and painter. He was awarded the National Artist of the Philippines title for literature in
1973,[1] as well as the Guggenheim Fellowship in creative writing by Conrad Aiken.[2] He is known to
have introduced the "reversed consonance rhyme scheme" in writing poetry, as well as the extensive
use of punctuation marksespecially commas, which made him known as the Comma Poet.[3] He
used the penname Doveglion (derived from "Dove, Eagle, Lion"), based on the characters he
derived from himself. These animals were also explored by another poet E. E.
Cummings in Doveglion, Adventures in Value, a poem dedicated to Villa.[1]
UNANG kinilala si Bienvenido A. Ramos bilang makata at manunulat sa Filipino at Ingles, nasa unang taon pa
lamang siya sa Bulacan High School (Marcelo H. del Pilar National High School ngayon) nang siya ang
magwagi ng dalawang unang gantimpala sa timpalak-panitik na inilunsad ng paaralan kaugnay ng pagdiriwang
sa Araw ni Balagtas (Abril 2, 1947). Nasa second year si BAR nang nagsimula siyang magsulat ng mga
tulang nangalathala sa mga pambangsang magasin, tulad ng Liwayway, Ilang-Ilang, Bulaklak, at iba pa.
Noon nabunsod ang isang mabunga, namumukod na writing career, na tinampukan ng kawing ng panalo sa
mga timpalak-panitik sa iba-ibang sangay ng Panitikang Pilipino. Noong 1979 ay iginawad sa kanya ang
titulong Poet Laureatesa magkakasamang pagtataguyod ng Makata Inkorporada, Surian ng Wikang
Pambansa at National Press Club of the Philippines.

The Sining Kambayoka, founded in 1974, is the only Filipino Muslim folk theater company in the
country. In its less than two decades of existence, it has reaped prestigious awards and enthusiastic,
critical acclaim. It won the 1977 Aliw Awards for Most Promising Cultural Troupe of the
Philippines, the 1977 Kalilangan Awards for the Best Cultural Troupe of the Philippines,
the 1978 Aliw Awards for the Most Outstanding Theater Group of the Philippines, and
the 1981 Balagtas Award for Filipino Drama.
While pursuing its prime objective of helping in the conservation of the Maranao cultural heritage and
contributing to the efforts towards in the conservation of the Maranao cultural heritage and
contributing to the efforts towards integration, the Sining Kambayoka also seeks to stimulate the
creativity of its members and mold them into socially-conscious and responsive individuals. The
ensemble draws its membership from the college students of the University.

The troupe specializes in folk theater basically employing the Kambayoka Theater Form which is
based on the Maranao Bayok (love song) and Darangen which are sung.

Ang Sarsuwela ay isang dulang may kantahan at sayawan, na mayroong isa hanggang limang kabanata, at
nagpapakita ng mga sitwasyon ng Pilipino na may kinalaman sa mga kwento ng pag-ibig at kontemporaryong
isyu. Ito rin ay tinatawag na zarzuela, sarsuela, dulang inawitan, dulang hinonihan, drama-lirico at operetta.

Kasaysayan

Ito ay dumating sa Maynila noong 1879 o 1880 na may pagtatanghal ng Jugar con Fuego (Play with Fire) ng
grupo ni Dario de Cespedes. Sa mga sumunod na taon, marami pang mga grupo ang dumating sa bansa na
nagdulot ng inspirasyon sa mga Pilipino upang gumawa ng sarili nilang orihinal na sarswela sa
wikang Tagalog, Pampango, Ilokano, Cebuano, Ilongo at Waray.

Ang An Pagtabang ni San Miguel ang unang sarsuwela sa Waray, na may iskrip at musika ni Norberto
Romualdez. Ang Ing Managpe naman ni Mariano Proceso Pabalan Byron ang unang sarsuwela sa pampanga.

Tema

Ang sarswela ay maaaring maglarawan ng mga tema nang pagmamahal sa bayan sa panahon ng rebolusyon,
tulad ng Walang Sugat (Not Wounded), 1902 ni Severino Reyes; panlilibak sa mga kahinaan ng pagkatao ng
mga Pilipino, tulad ng Paglipas ng Dilim (After the Darkness), 1920; pagtuligsa sa mga baluktot na gawain,
tulad ng mataas na interes sa pautang, sa Bunganga ng Pating (At the Mercy of the Sharks), 1921; at
paglalahad ng isang nakawiwiling kwento ng pag-ibig, gaya ng Anak ng Dagat (Child of the Sea), 1921
at Dalagang Bukid (Country Maiden),1919.

Pagtatanghal

Magmula pa noong sinaunang dekada ng ika-20 na siglo hanggang sa kasalukuyan, ang sarswela ay
itinatanghal na ng mga komersyal na grupo sa mga teatro sa malalaking siyudad tulad
ng Maynila, Iloilo at Cebuo sa mga entablado sa mga rural na lugar tuwing may kapistahan.

Mga pininturahang telon ang nagtatakda ng tagpo sa bawat eksena. Nakikilala naman ang bida at kontrabida
sa pamamagitan ng kanilang pag-arte at pananamit. Isang maliit o malaking orkestra ang sumasabay sa mga
kanta, na karaniwang isinasama ang kundiman, balitaw, balse, danza, fox-trot at kung anu man na sikat sa
naturang panahon. Isang pangkalahatang direktor ang nagsasanay sa mga aktor at nakikipag-ugnayan sa
direktor ng musika, na kumukumpas ng orkestra; maestro del coro (choir master), na nagsasanay sa pag-awit
ng mga aktor; tramoista (technician), na gumagawa ng mga telon at props; electricista na nangangalaga sa
ilaw na gagamitin sa sarswela; apuntador (prompter) na nagdidikta mula sa concha (shell) sa harap ng
entablado; at ang iba pang mga tauhan na kasama sa pagtatanghal.

The Senakulo (from the Spanish cenaculo) is a Lenten play that depicts events from the Old and New
Testaments related to the life, sufferings, and death of Christ.

The senakulo is traditionally performed on a proscenium-type stage with painted cloth or paper backdrops that
are called telon. It takes at least eight nights - from Palm Sunday to Easter Sunday - to present the play. Christ
is presented traditionally as meek and masochistic, submitting lamblike to his fate in obedience to authority.

Versions

In urban areas, there are modernized versions of the senakulo that run for only one or two hours. They may be
presented in different types of venues: on the traditional stage, on the streets, in a chapel, in a large room, or
out in the open. Comedy, courtship, and special effects may be incorporated. Furthermore, modern senakulos
tend to focus not on Christs submissiveness, but on his reason and resolve in courageously standing up for the
downtrodden against their oppressors, perhaps suggesting how current problems may be resolved.

Street senakulos is another form of penance where the people are walking with the procession. People near
the church wait eagerly to witness the reenactment. Locals act as Roman soldiers with their menacingly
painted masks and armors, pounding on doors to search for Jesus. Most anticipated among the episodes are
the judgment of Jesus, the Crucifixion and His Seven Last Words. Spectators may range from devotees to the
merely curious. For some, it is the time to reflect on the life of Jesus, while others take it as a chance to spend
time with family and friends.

The routine of the reenactment has not changed, but its presentation is infused with a fresh flavor to reach the
modern-world absorbed consciousness of the new generation.