BIBLIOGRAPHY TAY-OG, KAREN B. APRIL...
BIBLIOGRAPHY
TAY-OG, KAREN B. APRIL 2013. Facilitating Story Telling As a Medium of
Reviving Oral Tradition: The Case of the Benguet State University Development
Communication Society Story Telling Caravan. Benguet State University, La Trinidad,
Benguet.
Adviser: Filmore Y. Awas, MDevCom
ABSTRACT
The study was conducted to document the processes observed in the planning,
monitoring and evaluation of the story telling caravan of the BSU-Development
Communication Society.
Specifically, the study determined the socio-demographic profile of the
respondents; determine the socio-demographic profile of the respondents; enumerated the
processes involved in the planning of the Story Telling Caravan; documented how the story
telling is implemented to the intended communities; identified the perceived importance
of the story telling by the respondents; discussed how the Story Telling Caravan is
evaluated by the implementors; determined the values being communicated in the Story
Telling Caravan as perceived by the respondents; determined how the project is being
sustained by its members; and determined the problems encountered in the planning and
implementation of the Story Telling Caravan.
Facilitating Story Telling As A Medium Of Reviving Oral Tradition: The Case Of The
Benguet State University Development Communication Society Story Telling Caravan |
TAY-OG, KAREN B. APRIL 2013
There were 30 respondents that were randomly selected from the two communities
where the Story Telling Caravan was implemented; 20 of them were youth, seven were
adult, and three belonged to the elders. On the other hand, there were 20 STC Team
members who were subjected into series of Focused Group Discussion (FGD).
The objectives of the project were basically met from planning to implementation.
And the STC project has a unique framework that is convenient for the community because
of its participatory scheme.
But like any other projects, there are problems and issues that may arise from
internal and/or external forms but can be managed through continuous reflection and
continuous dialogue between the implementers and the beneficiaries. The team should
continue personally coordinating and networking with municipal mayors, barangay
captains and other gatekeepers for the smooth planning and implementation.
Also, for effective and powerful storytelling, the STC Team may consider
conducting a summer camp to train and equip the STC Team on the upcoming caravans.
Facilitating Story Telling As A Medium
Of Reviving Oral Tradition: The Case Of The
Benguet State University Development Communication Society Story Telling Caravan |
TAY-OG, KAREN B. APRIL 2013
INTRODUCTION
Rationale
Folk media or traditional media, which are mostly in the form of storytelling, skit,
mini drama, or even a simple stage play, has long been appreciated in rural societies
because of their simplicity in presenting information aside from their entertainment
component.
According to Chapke and Bhagat (n.d.), folk media can reach the masses where
other audio-visual media cannot (e.g. to areas that have no electricity, where equipment
cannot be brought inexpensively and where most of the population is illiterate). One
type of folk media is folk stories, which play a vital role in knowledge transfer and
personality development, as noted by Priwan (2008). Songsin (1999), as cited by Priwan
(2008), also added that folk stories has power to influence person‟s perception, attitude,
behavior, and many other factors important to human‟s life as well as the society. These
are stories that are being passed on from parents to children.
Retelling these stories is part of a rich oral tradition that binds the community
together. As elaborated in a working paper of Victor (2007), „kwentuhan‟ for the IP people
are essential moments because it is these moments that maintain the collective mind and
psyche of the tribe that synergizes their sense of oneness in this dimension.
In addition, Custodio (2008) said that “our stories and everyday talk hold meanings
which reflect views and understanding of ourselves, environment, other people, what needs
to be done and how; of what happened yesterday; what is happening today; and what may
Facilitating Story Telling As A Medium Of Reviving Oral Tradition: The Case Of The
Benguet State University Development Communication Society Story Telling Caravan |
TAY-OG, KAREN B. APRIL 2013
happen tomorrow”. It only means that anything shared orally under the sun can be a story
as long as it encompasses values or moral lessons.
The Cordillera is rich with folk stories which are being transferred from generations
orally. Thus, the Development Communication Society (DCS) of Benguet State University
(BSU) formulated a Story Telling Caravan, a continuation of the just concluded Stories of
Alapu (SoA) Project of the same organization and the Department of Development
Communication to address the threats on folk stories such as death of elders, and the
disinterestedness of the youth to folk stories.
While the SoA-Benguet and Mountain Province Project was able to attain its goal
to preserve the gathered stories by putting them into paper, the death of the storytelling
tradition is prevalent; thus, the Story Telling Caravan project.
The Story Telling Caravan has four general objectives: 1) to bridge the gap between
the elders and the youth through innovative communication strategies; 2) to come up with
an efficient storytelling framework; 3) to revitalize the oral tradition of Benguet and
Mountain Province; and 4) to serve as a channel to bring back to the communities the
stories that has been gathered from them.
Hence, the project hopes to stir the community and make them understand and
realize that their stories are brought back to them and for them to see that their stories are
used to bring out the values attached to these stories.
Along this process is the importance of documentation; thus, this study. Process
Documentation, as summarized by Torres (1996) as cited by Tirol (2002), is a tool for
documenting the development and implementation process of a particular
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Benguet State University Development Communication Society Story Telling Caravan |
TAY-OG, KAREN B. APRIL 2013
undertaking; and taking note of the process (people, time, activities that happened to bring
about a particular decision or plan). Torres (1996) as cited by Tirol (2002) also list four
major purposes of PD: a) to provide data on a chain of events that help explain the
occurrence of phenomenon; b) to assess group dynamics and depict pattern of behavior
that help explain why people behave the way they do; c) to identify key personalities or
characteristics involved in decision-making in a group; and d) to serve as a pool of data for
drawing out lessons learned (what worked, what did not, why) and for strategizing.
A full documentation of the process of its conceptualization, implementation and
evaluation is therefore necessary. This is to help other members of the organization,
researchers, project implementers and stakeholders in understanding the working of the
project better. Insights from this documentation may serve as a point of reflection for
possible improvement, if there are, or replication for other similar projects that the
organization or other groups may have in the future.
Statement of the Problem
1. What is the socio-demographic profile of the respondents?
2. What are the processes involved in the planning of the Story Telling Caravan?
3. How is the Story Telling Caravan implemented to the intended communities?
4. What are the perceived importance of the Story Telling Caravan by the
respondents?
5. How is the Story Telling Caravan being evaluated?
6. How is the project being sustained by its members?
Facilitating Story Telling As A Medium Of Reviving Oral Tradition: The Case Of The
Benguet State University Development Communication Society Story Telling Caravan |
TAY-OG, KAREN B. APRIL 2013
7. What values are being communicated in the Story Telling Caravan as perceived by
the respondents?
8. What are the challenges encountered in the planning and implementation of the
Story Telling Caravan?
Objectives of the Study
Generally, the study documented the processes observed in the planning,
monitoring and evaluation of the storytelling caravan.
Specifically, it aimed to:
1. determine the socio-demographic profile of the respondents;
2. enumerate the processes involved in the planning of the Story Telling Caravan;
3. document how the story telling is implemented to the intended communities;
4. Identify the perceived importance of the story telling by the respondents;
5. discuss how the Story Telling Caravan is evaluated by the implementors;
6. determine the values being communicated in the Story Telling Caravan as
perceived by the respondents;
7. determine how the project is being sustained by its members; and,
8. determine the problems encountered in the planning and implementation of the
Story Telling Caravan.
Importance of the Study
The study may serve as a documentation of the efforts made by the Development
Communication Society and the Department of Development Communication. It may
Facilitating Story Telling As A Medium Of Reviving Oral Tradition: The Case Of The
Benguet State University Development Communication Society Story Telling Caravan |
TAY-OG, KAREN B. APRIL 2013
serve as a guide to the organization and may provide insight for the continuation of the
Story Telling Caravan project.
It may also serve as a reference to other organizations who will be having similar
projects and also to other researchers who will be having the same scope of study.
Furthermore, the study will also help other people understand the workings of the project
better.
Scope and Limitation of the Study
The respondents of the study were the community folks from the Municipality of
Gusaran, Kabayan and Bagong, Sablan where the Caravan visited this year. Thus, the study
was conducted on December 2012 – February 2013.
The study is limited to documenting the processes in the conceptualization,
implementation and evaluation of the Story Telling Caravan project and will not cover the
immediate impact of the project to the community.
Facilitating Story Telling As A Medium Of Reviving Oral Tradition: The Case Of The
Benguet State University Development Communication Society Story Telling Caravan |
TAY-OG, KAREN B. APRIL 2013
REVIEW OF LITERATURE
Stories of Alapu Project
Figure 1 shows the timeline of the stories of Alapu project.
The Stories of Alapu Project is an Information, Education, and Communication
(IEC) campaign program of the Development Communication Society. It has the following
objectives; a) identify and gather popular stories of Alapu (old folks) in the provinces of
the Cordillera (Phase I and Phase II); b) produce three types of IEC materials for children
from the identified stories: story books, radio drama, and animated cartoon video; c)
conduct an Information Campaign to the different public and private elementary schools
in the Cordillera; and d) distribute the developed IEC materials to the Department of
Education-CAR, and identified non-government organization that are interested to take
part in the campaign
In 2005, this project has made the DCS to be distinguished as Ten Accomplished
Youth Organization by the National Youth Commission and the TAYO Awards
Foundation, Inc. The stories of Alapu project involve three stages: the co-curricular
inception process which included the field gathering of stories, the production process, and
the campaign. The Production stage was initiated by the Core Team who has produced
story books.
Stories of Alapu Project started as a co- curricular program of the B.S.
Development Communication program.According to Betty C. Listino, a DevCom alumna
and former adviser of the Development Communication Society, the story gatherings
Facilitating Story Telling As A Medium Of Reviving Oral Tradition: The Case Of The
Benguet State University Development Communication Society Story Telling Caravan |
TAY-OG, KAREN B. APRIL 2013
started with the first batch of BSDC during the Summer Internship in 2002. They were
assigned at SuLuMaBaDuKa, a Christian Children‟s Fund funded non-government
organization (NGO) based in Masla, Tadian and their first assignment is to collect creation
stories.
The next batch of story gatherers was the 3rd batch of BSDC on the summer of 2004
who were assigned at Bontoc, Mountain Province and Buguias, Benguet during their
summer communication internship. They were also required to gather folk stories from the
two provinces; Benguet and Mountain Province and at the same time to compile the
gathered stories. Loreta Dueñas, a Community Broadcasting Major who belonged to the
3rd batch submitted her work in a storybook form that gave their internship adviser at that
time the idea that the gathered stories may be packaged like what she did.
The 4th batch of BSDC continued the legacy. Though the idea came from the 3rd
batch, it was the 4th batch that started the production stage as part of an educational
requirement in their major subject. They created coloring books of “The Chinese Man‟s
Legacy” and “The Woman with the Knife”. Upon realizing that the requirement
could become a project, the Development Communication Society (DCS), the student
organization of the BSDC students of Benguet State University, made this as a project
entry from 2004-2005. The project was initially called, “Stories of Alapu: An Information,
Education, Communication (IEC) Campaign among school children in the
Cordillera” with the two storybooks produced.
Filmore Y. Awas, the DCS president at that time, sourced out PhP 20, 000 from the
Supreme Student Government under the presidency of Mark Gay-as purposively for the
Facilitating Story Telling As A Medium Of Reviving Oral Tradition: The Case Of The
Benguet State University Development Communication Society Story Telling Caravan |
TAY-OG, KAREN B. APRIL 2013
printing of copies of the two storybooks for distribution and evaluation. The ADIVAY
2005 was in time for the pilot testing of the storybooks, thus the DCS distributed copies of
the storybook to the children who have attended the ADIVAY Festival.
In the same year, the DCS was awarded as one of the Ten Accomplished Youth
Organization (TAYO) through the Stories of Alapu project. This started the expansion of
the project.
In 2006, a core team which is composed of the DevJourn Majors and some EdCom
majors continued the field gathering.By the year 2007, the core team was able to produce
the Mountain Province edition in full colored storybook with Dr. Maria Luz D. Fang-asan
as the project leader.In 2009, the Benguet Edition of storybooks was completed with Betty
C. Listino as the project leader.
In 2011, the 9th batch prepared the animated version of some of the stories published
under the Benguet Edition. It was in the same year that a digitalized story was created by
the Department of Development Communication with Filmore Y. Awas, Christine Grace
B. Sidchogan, and Anna Liza B. Wakat as study leaders.
In 2012, the Story Telling caravan, which is the campaign stage of the Stories of
Alapu, was piloted in sitio Lusod and Domolpos, Tinongdan, Itogon, Benguet.
Facilitating Story Telling As A Medium Of Reviving Oral Tradition: The Case Of The
Benguet State University Development Communication Society Story Telling Caravan |
TAY-OG, KAREN B. APRIL 2013
Facilitating Story Telling As A Medium Of Reviving Oral Tradition: The Case Of The Benguet State University Development
Communication Society Story Telling Caravan |
TAY-OG, KAREN B. APRIL 2013
Traditional Folk Media
Traditional folk media is defined by Jinadasa (2011) as the way of transferring the
knowledge and the wisdom to new generation from the past generation.
It has peculiar characteristics that it can reach the masses where other audio-visual
media cannot, e.g. to areas that have no electricity, where equipment cannot be brought
inexpensively and where most of the population is illiterate this was elaborated by Chapke
and Bhagat (n.d.).
Examples of traditional folk media added by Jinadasa (2011) are chattering,
gossips, riddles, proverbs, folk lyrics, songs, singing styles, folk dramas, skits, role plays,
storytelling, folk tales, riddles, idioms, folk-music, mask dance, puppet dance, folk dances,
ceremonial occasions, rites and rituals.
One type of folk media is folk stories, which play a vital role in knowledge transfer
and personality development, as noted by Priwan (2008). Songsin (1999), as cited by
Priwan (2008), added that folk stories also has power to influence person‟s perception,
attitude, behavior, and many other factors important to human‟s life as well as the society.
These are stories that are being passed on from parents to children.
Storytelling
Story is defined as a narrative account of an event may it be real or imaginary by
the Merriam-Webster Dictionary. And Storytelling as defined by the National Storytelling
Network is the interactive art of using words and actions to reveal the elements and images
of a story while encouraging the listener‟s imagination.
Facilitating Story Telling As A Medium Of Reviving Oral Tradition: The Case Of The
Benguet State University Development Communication Society Story Telling Caravan |
TAY-OG, KAREN B. APRIL 2013
The National Storytelling Network also added five characteristics of storytelling
which are as follows: 1) it is interactive, 2) it uses words, 3) it uses actions such as
vocalization, physical movement and/or gesture, 4) it presents a story and 5) it encourages
the active imagination of the listeners.
Story Telling as an Oral Tradition
Culture is linked with development or improvement by training or education which
is transmitted orally from generation to generation said Dumanghi (1995). She also added
that as people have self-retrospective with regard to their cultural practices, beliefs and
rituals, they come to realize what are worth perpetuating. Oral tradition is one of the
cultural practices common to Indigenous People Communities because it is the primary
medium used to pass on history and culture among communities. This was elaborated by
Vansina (1985) on his book Oral Tradition. According to Vansina (1985), these oral
traditions may in the form of songs, chants, ballad, and folk stories.
The primary oral tradition or primary orality is not easy to conceive of accurately
and meaningfully said Ong (2001) because of its nature of being transmitted orally from
generations to generations. This form of communication is very effective on communities
who are illiterate or doesn’t know how to read and write.
On the other hand, storytelling is one of the vital folk media used in Indigenous
Communities. Stories that originated from their own communities are told to the younger
generations to impart moral lessons, history, or even traditions and culture of the
community.
Facilitating Story Telling As A Medium Of Reviving Oral Tradition: The Case Of The
Benguet State University Development Communication Society Story Telling Caravan |
TAY-OG, KAREN B. APRIL 2013
Indigenous People’s Community
An Indigenous People’s community is not just a political, economic, and social unit
the way a barangay is; an IP community is first and foremost a cultural entity and this entity
has its political, social, economic, and informational dynamics, and is, therefore, a living
entity in itself. This living entity’s general label is what the English language calls „tribe‟
emphasized Victor (2007).
It only means that Indigenous people are those people who belong to a tribe and
they have their own cultural entity. They have their way of living which is unique from
others.
Folk Media’s Role in Development
Folk media, according to Pawar and Patil (1994), may be through songs,
simulation, skit, story, symbols, shadow play, street play, puppetry, ballad, mini drama or
anything that serves the purpose of communication to inform, educate, motivate, organize
and mobilize people. It is a medium that can overcome the difficulty of language, speech,
words and other barriers of communication like, interest, understanding, interpretation,
attitude and perception said Prasad, et al. (2010). With this, folk media should not be
disregarded in terms of development issues.
Historically, the folk media have often a role in the communication and promotion
of new ideas and the adjustment to a new social or political order, apart from its traditional
role of preserving and teaching established values said Kamat (2010). These are just some
Facilitating Story Telling As A Medium Of Reviving Oral Tradition: The Case Of The
Benguet State University Development Communication Society Story Telling Caravan |
TAY-OG, KAREN B. APRIL 2013
of the roles of folk media in development thus making it the most important vehicle of
social change added Prasad, et al. (2010).
Process Documentation
Process documentation (PD) is not new in research. According to Tirol (2002) PD
is a factual recording of events occurring in a project or program or in a company. Malicsi
as cited by Tirol (2002) further explains “the philosophy behind PD lies in describing
processes and events in order to come up with a systematic view of field experience”. Thus,
PD is the unfolding of certain processes, it lets the people feel the things that happened and
know why it happened elaborated Tirol (2002).
Also, there are four major purposes of PD listed by Torres (1996) as cited by Tirol
(2002) which are the flowing: a) to provide data on a chain of events that help explain the
occurrence of phenomenon; b) to assess group dynamics and depict pattern of behavior
that help explain why people behave the way they do; c) to identify key personalities or
characteristics involved in decision-making in a group; and d) to serve as a pool of data for
drawing out lessons learned (what worked, what did not, why) and for strategizing.
Challenges that Face Cultural Beliefs, Rituals, and Practices
Culture is linked with development or improvement by training or education which
is transmitted orally from generation to generation said Dumanghi (1995). She also added
that as people have self-retrospective with regard to their cultural practices, beliefs and
rituals, they come to realize what are worth perpetuating.
This was also supported in a seminal paper released by ECIP about indigenous
peoples‟ education that was cited by Listino on her article that was published in the Itogon
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Times, it states that IP elders in the country assert that tribal and community life can only
continue if their youth are rooted in their culture, IKSPs and the ancestral domain, grow
up with a clear sense of identity, are committed to meeting the challenges and issues that
face the tribe, can assert their self-determination, and are conscious of being inheritors of
a heritage and their elders for the coming generations.
Operational Definition of Terms
BSU. Stands for the Benguet State University.
Community folk. The participants of the STC from the community.
Core team. The facilitators during the Pilot campaign at Itogon.
DCS. It stands for the Development Communication Society.
Kabayan caravan. The STC implementation at Gusaran, Kabayan.
Pilot campaign. The STC implementation at Domolpos and Lusod, Itogon.
Sablan caravan. The STC implementation at Bagong, Sablan.
STC team. The primary movers which includes the actors, script writers, props makers, and
performance director of the STC who are from the DCS.
Story Telling Caravan (STC). Name of the primary project of the Development
Communication Society (DCS) at Benguet State University.
Target area. Place of implementation.
Facilitating Story Telling As A Medium Of Reviving Oral Tradition: The Case Of The
Benguet State University Development Communication Society Story Telling Caravan |
TAY-OG, KAREN B. APRIL 2013
METHODOLOGY
Locale and Time of the Study
The study was mainly conducted in La Trinidad, Benguet. Benguet is known as one
of the provinces in the Cordillera Administrative Region which lies on the southern portion
of the old Mountain Provinces. It is bounded on the north by Mountain Province, on the
west by Ilocos Sur and La Union, on the east by Ifugao and Nueva Vizcaya and on the
south by Pangasinan.
La Trinidad on the other hand, is a 1st class municipality in the province ofBenguet.
it is the capital municipality of Benguet and is famously known as the“Strawberry Fields
of the Philippines”.The municipality is located 3 km north of Baguio City and is 256 km
north of Manila. It is bounded on the north by the municipality of Tublay, on the south by
Baguio, and on the west by Sablan and Tuba. It has a total land area of about 8273.80
hectares, representing 3.16% of the provincial land area. The terrain is generally
mountainous with springs, rivers and creeks. Its floor elevation is at 1300 meters above sea
level.
Other areas where the study was conducted include Kabayan and Sablan, Benguet.
These two municipalities of Benguet are where the two campaigns were conducted.
Kabayan is an Ibaloi community that shares boundaries with the municipality of Buguias
on the north, Bokod on the south, Atok on the west and Tinoc, Ifugao and Kayapa, Nueva
Vizcaya in the eastern. The second highest mountain in the Philippines, Mt. Pulag is found
in this municipality. The lowest elevation is 1,000 meters above sea level while the highest
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elevation is at 2,922 meters above sea level. The municipality's terrain is generally steep
to very steep slopes with few rolling foothills and mountain plateaus.
According to the 2000 census, it has a population of 12,344 people in 2,063
households. Ibalois, Kalanguyas and Kakanaeys populate the town of Kabayan. Each of
these tribes has its own beginning. The Ibalois are majority tribe who trace their origin to
a settlement in Kabayan known as Embosi. Hence, Kabayan is known as the seat of the
Ibaloi culture. Sablan, which is found to be surrounded by the municipality of Burgos, La
Union and municipality of Kapangan, Benguet, on the east by the municipalities of La
Trinidad and Tublay, on the south by the city of Baguio and the municipality of Tuba on
the west. The name "Sablan" got its name from a tree called "SABDANG" that grew
abundantly along and around the Sablan River which was found by early settlers who
migrated to the place. The Sabdang tree blooms with its beautiful red bright colored flowers
during the summer season. The tree grows up to fifty feet tall with many branches. During
the Month of February, it bears fiery red flowers, buds open and the leaves start to fall.
When the trees are in full bloom, it appears as though it has no leaves but all flowers which
make it even more distinctively beautiful among all trees.
There are no original settlers in this municipality besides the immigrants from
Bantay Dose (now called San Pascual in Tuba, Benguet) Kabayan, Bokod, La
Trinidad,Atok, and other neighboring towns, mostly Ibalois. Only in the latter part of
1970's that Ilocanos and other lowlanders migrated to Sablan. Sablan is politically
subdivided into 8 barangays that can be reached through the national road which connects
it to the Province of La Union and Benguet and the City of Baguio making it accessible to
all kinds of vehicle. Except for the two barangays of Bagong and Balluay, it is accessible
Facilitating Story Telling As A Medium Of Reviving Oral Tradition: The Case Of The
Benguet State University Development Communication Society Story Telling Caravan |
TAY-OG, KAREN B. APRIL 2013
only by foot. Though, at present the farm-to-market road was already constructed with only
one PUJ a day that goes back and forth at Baguio City then goes back at Bagong dropping
first at Balluay.
Facilitating Story Telling As A Medium Of Reviving Oral Tradition: The Case Of The
Benguet State University Development Communication Society Story Telling Caravan |
TAY-OG, KAREN B. APRIL 2013
Figure 2. Map of Benguet showing list of stories found in each municipality and at the
same time shows the locale of the study
Facilitating Story Telling As A Medium Of Reviving Oral Tradition: The Case Of The
Benguet State University Development Communication Society Story Telling Caravan |
TAY-OG, KAREN B. APRIL 2013
Respondents of the Study
The respondents of the study were divided into three groups. They were the
community people of Gusaran, Kabayan and Bagong, Sablan who attended the STC, the
STC Team, and the key informants which include the Project partners and the DCS
Adviser. There were a total of 50 respondents from the two communities where STC was
implemented last February 2013. Twenty of them were youth, seven were adult, and three
belonged to the elders. The 30 respondents from the two communities were randomly
selected.
On the other hand, there were 20 STC Team members who were subjected into
series of Focused Group Discussion (FGD).
Data Collection
Because the project involved the community and the project implementers, the
researcher needed to be present in all the activities of the organization. Guide questions
were also used as gathering instruments for the community regarding objectives number 1,
3, 4 and 7. Guide questions were also used by the researcher and were asked using the
Ilocano and Ibaloi language, depending on their preference.
The STC Team was subjected to FGD to gather data for the remaining objectives.
The researcher also directly observed the implementation and other processes. Photo and
video taking was done as part of the documentation process. Secondary documents such as
the society‟s Minutes of Meetings, and press releases were used as reference of the
researcher regarding other information.
Facilitating Story Telling As A Medium Of Reviving Oral Tradition: The Case Of The
Benguet State University Development Communication Society Story Telling Caravan |
TAY-OG, KAREN B. APRIL 2013
Furthermore, key informants such as the DCS adviser Christine Grace Sidchogan,
the department Extension Coordinator Igrelyn Pinos-an, and project partners from the
SDS multimedia and the ResearchMate, Inc.
Data Gathered
The data that were gathered include the socio-demographic profile of the
respondents, the processes involved in the planning, implementation and evaluation of the
story telling caravan, the perceived importance of the story telling by the respondents, how
the project is being sustained, and the problems encountered in the planning and
implementation of the STC.
Data Analysis
For the socio-demographic profile data, the researcher tabulated and interpreted the
data descriptively. Data from the interviews and FGDs were recorded, analyzed and
discussed narratively by the researcher.
Facilitating Story Telling As A Medium Of Reviving Oral Tradition: The Case Of The
Benguet State University Development Communication Society Story Telling Caravan |
TAY-OG, KAREN B. APRIL 2013
RESULTS AND DISCUSSION
Socio-Demographic Profile of the Respondents
Table 1 shows the socio-demographic profile of the community people
respondents. It can be noted in the figure the dominant number of female (20) as compared
to the males with a frequency of 10. This is due to the participation of the female during
the implementation as observed by the researcher. During the implementation, it was
observed that the female participants including the elders were positioned in front while
most of the males were found at the back. Also, during the data gathering for the Sablan
Caravan, females were mostly the ones left at home; thus, they were the ones interviewed
by the researcher.
Age of the respondents. In terms of age, 20 of the respondents were aged 5-20, five were
from age bracket 21-35, and two of them were from 51-65 years old. There were three who
belonged to age bracket 66-80.
The high percentage of youth respondents in the study can be observed. The data gathering
for most of the respondents were made strategically to avoid some hesitations from the
elders whenever they see papers and pen during interview. In these cases, interviews were
voice recorded with their consent.
Occupation of the respondents. Twenty of the respondents were still high school and
elementary students. One of the teaching staff of the school was also a respondent.
Ten of the respondents were farmers.
Facilitating Story Telling As A Medium Of Reviving Oral Tradition: The Case Of The
Benguet State University Development Communication Society Story Telling Caravan |
TAY-OG, KAREN B. APRIL 2013
Ethnic affiliation of the respondents. All of the 30 respondents trace their identity to the
Ibaloi tribe. Though, some of them were just married to residents of the place, they still
came from Ibaloi communities nearby.
Language spoken. Language spoken here refers to the languages they are fluent to use in
communicating with others. All of the 30 respondents were Ibaloi speakers; however, they
can also fluently speak Ilocano. Also, 24 of them can understand and speak a bit of Filipino
(Tagalog).
Table 1. Profile of the community folks respondents
SEX
FREQUENCY
(n=30)
Male Female
10
20
AGE
5 to 20
20
21 to 35
5
36 to 50
1
51 to 65
2
66 to 80
3
OCCUPATION
Farming
10 1
Teaching
20
Students
ETHNIC AFFILIATION
Ibaloi
31
DIALECT SPOKEN
Ibaloi
31
Ilocano
31
Filipino
24
*Dialect Spoken- Multiple response
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Table 2 shows the socio-demographic profile of the STC team respondents.
Sex. As shown in the table, there were more females (15) than males (5). This can be due
to the higher number of females enrolled in the BSDC program.
Age of the STC team respondents. The STC Team is composed of screened
Bachelor of Science in Development Communication students of Benguet State University
who were considered as the core team. Eighteen of the respondents were 16 – 20 years old.
Year levels of the STC team respondents. Majority of the STC team were from the 3rd year
level since they were the first group who were involved in the project. This was followed
by the 2nd years with frequency of six. There were also three 1st year students and a senior
student.
Positions of the STC team respondents. The STC team was divided into two: the cast, and
the crew. There were more cast which is composed of 14 facilitators, and four musical
players. Meanwhile, the crew is composed of five props maker, five script writers, two
performance crews, two performance directors and four project coordinators. Ethnic
affiliation of the STC team respondents. As shown in Table 2, Kankana-ey was dominant
in terms of number than the others. There were two Aplai with only one pure Ibaloi and
the others were mixed. There were two mixed Ibaloi and Kankana-ey, two mixed Ilocano
and Kankana-ey and four Bisaya and Pangasinense but lives and grew here at the
Cordillera. School may be the midpoint of individuals with different ethnic origins. But
BSU is located in Benguet, thus, most of the students originated from the same area or
from nearby places.
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Dialect spoken by the STC team respondents. The ethnic affiliation of the respondents is
one of the factors that affect the dialect they spoke. All of the respondents understand and
speak Ilocano especially the highland Ilocano. Nine of them were fluent or knew a bit of
Kankana-ey. There were also four Ibaloi speakers, two Bisaya speakers and Pangasinense
speakers. The later respondents were challenged to learn kankana-ey and Ibaloi languages
because it is one of the prerequisites in the project.
Table 2. Socio-demographic profile of the STC team respondents
SEX FREQUENCY
(N=20)
Male Female
5
15
AGE
16 to 20
18
21 to 25
1
26 to 30
1
YEAR LEVEL
4th Year
1
3rd Year
10
2nd Year
6
1st Year
3
POSITION IN THE TEAM
Facilitator
14
Script Writer
5
Props Maker
5
Performance Director
1
Performance crew
10
ETHNIC AFFILIATION
Aplai
2
Ibaloi
1
Ilocano-Kankana-ey
2
Kankana-ey
9
Kankana-ay-Ibaloi
2
Others
4
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Table 2. Continued…
DIALECT SPOKEN
Bisaya
2
Ibaloi
4
Ilocano
20
Kankana-ey
9
Pangasinense
1
Processes Involved in the Planning of the Story Telling Caravan
Figure 3 shows the processes involved in the planning of the Story Telling Caravan.
Conceptualization. The Story Telling Caravan originated from the recently concluded
project of the DCS, the Stories of Alapu (SoA), which is an Information Education
Communication (IEC) Campaign of the organization to school children. This was then
adopted by the Department of Development Communication as one of its extension
projects.
According to Christine Grace Sidchogan, the DCS adviser during the conduct of the study,
the STC is an expansion of the SoA Project; thus, the formal turnover of SoA- Benguet
Editioncopies to the DepEd - Benguet Division in March 2012. After the turnover, they
came up into a realization that giving the SoA copies to the DepEd will just benefit the
school children. This left the group with the question, “How about the community?”
Through a triangular conceptualization, DCS alumni in person of Betty C. Listino,
Christine Grace B. Sidchogan, and Filmore Y. Awas, who were the key persons in the
development of the STC project came up with an exploratory idea such as the framework
of the STC.
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The DCS alumni were able to grasp the idea through series of discussion with Lourie
Victor, a technical representative of DepEd-Prime at that time and whose involvement in
indigenous education is visible. That was also the time that the BSUDepartment of
Development Communication was working closely with the Department of Education
regarding the turnover of the SoA copies to them. It was also through Ms. Victor that the
concept and importance of orality was emphasized to the group. With this, series of
workshop was conducted with the core team for them fully understand the power of orality
and how to use this for effective campaigns.
In February 2012, a turn-over ceremony of the SoA-Benguet Edition was conducted by the
Department of Development Communication and DCS alumni in Itogon, Benguet. This
activity was part of the extension program of the DDC. Since it was an extension program
of the DDC, this was attended by Anna Liza B. Wakat (Department Chairman that time),
Filmore Awas (DCS Adviser that time), Betty C. Listino (SoA-Benguet project leader),
Christine Grace B. Sidchogan (DDC research coordinator), and Igrelyn Pinos-an (DDC
extension coordinator). There were 10 books of the SoA-Benguet Edition given and
received by the Municipality through its Mayor. Through this turn-over, the plan to have
the storytelling was finalized with the local government unit of Itogon. Necessary
arrangements with regard to date, venue, counterpart (assistance), food, and transportation
were discussed.
Creation of storytelling team. A core group of storytellers (actors and actresses) was
organized before the slated event which was February 23-24, 2012. The DCS alumni and
the Itogon LGU became the recent partner of this endeavor.
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Because there were only few DCS members who showed interest, some faculty members
of the DDC asked their students who were willing to be involved to join the activity. To
complete the team, the faculty members of the DDC required some of their 2nd year Edcom
majors for the academic year 2011-2012 to be the active members of the team. They were
first oriented about the SoA as they were required to be involved in the project.
The 2nd year Edcom majors were divided into four groups: two groups were assigned for
the script writing and the other two groups were assigned for the props development of the
two stories that were decided to be presented.
Since the 2nd year Edcom majors were taking up their script writing for communication
media, they were assigned to prepare the scripts for the play. The script writers drafted the
script in English then later on translated in Ibaloi by Rey Daoal, an Ibaloi from Kabayan,
Benguet. Insertion of the pnemonics followed next.
The project also was an avenue for the students to apply what they have learned in their
course DEVC 141 (Visual Design and Techniques). On the part of the props developers,
they based the props that should be done on the scripts made by the two groups of script
writers to be able to identify the materials to be used.
Rehearsals were done a week before the pilot campaign according to the core team. Their
capability buildings were basically from their inputs from their Devcom courses, as attested
by their instructors.
They were also guided and facilitated by Joefrence Yangyang, a BSDC student, who had
an experience in theatre or stage plays. According to the core team, they cried, crawled,
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rolled and went up and down an imaginary high mountain at the CA lawn during their
rehearsals.
It can be noted then that the creation of the storytelling team was a result of continuous
collaboration of the people involved in the project.
SOA Implementation. The DDC and the DCS went to Domolpos and Lusod, Tinongdan,
Itogon, Benguet on February 23-24, 2012 the turnover of books and at the same time to
present the prepared play as part of exploring the orality through the use of folk media.
The “Tiktik and the Apesang Rock” and the “Aki and the Maja” were presented during the
event. According to the STC respondents, the team was able to complete the continuation
of the story of the „maja‟ (chant) from Lakay Coditiw. It can be noted that there was a
missing part in the chant published in SoA-Benguet Edition since it just mentioned a part
of the chant which states “Kimukuyari- e patay mo!” (You‟re not moving because you‟re
dead!). But the continuation of the chant was not included in the study because it was
considered as sacred by the Iowak Tribe.
It was just later on that the team realized that what they did at Domolpos and
Lusod, Tinongdan, Itogon could be another project as mentioned earlier in the discussion.
Creation of the STC Team. After the success of the first storytelling activity (pilot
campaign) in Itogon, a series of consultation with DDC and with the DCS alumni
representatives was conducted. After such consultations, the DCS decided to create a team
that would focus on the Storytelling Caravan.
In June 2012, right after the election of new sets of DCS officers, Mr. Joefrence Yangyang,
the newly elected president, initiated the opening of members to finally create the STC
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team. Application was opened to interested DCS. According to one member of the team,
there were many of them who applied; however, they were screened according to their
acting skills and dedication. They were trimmed down to 15 that completed the STC Team.
The screening was done by the core team. Their basis for selecting the 15 STC members
include the fluency of the applicant in speaking the language needed in the stories (Ibaloi
or Kankana-ey), willingness to commit their time, and their interest to sustain the project.
Capability building. During an interview with Igrelyn Pinos-an, the DDC extension
coordinator, she said that the DDC provided capability buildings to the students who are
also logically DCS members. Capability were integrated in their academic activities or
were organized separately for the team. It can be said that the STC is implemented as an
application of what the BSDC students learned from their Devcom subjects.
On the other hand, there was a weeklong capability building that was organized for the
STC team. Three days was allotted for the workshops on Understanding Folktales and an
Introduction of the Storytelling by Betty Listino. This supported the statement of Pinos-an
that capability building activities were organized separately for the team.
Based on observation by the researcher, there were only few participants during the first
workshop. There was also an inconsistency in the number of participants per day.
One of the factors, according to interview with the respondents, is the conflicting interest
of the team members during the workshop since the capability building was conducted
during the week of CA Sportsfest.
The last day was an acting workshop with Salaco Pampaniko, a known local theater actor.
The researcher observed that there was more number of the participants during the last day
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of the capability building. According to Salaco, a day of acting workshop is not really
enough to completely equip the team; thus, he recommended for a continuous acting
training for the team.
Storytelling Caravan planning. Planning stage started after the creation of the
STC team and capability building.
For the first STC, the team planned to visit Kabayan and Bokod for it to be called a caravan.
This plan was based on the prioritization list that the team came up with during a
consultation with the DCS alumni representatives and project partners. According to this
project partner (whose name is requested to be withheld), the month of October is the best
time to visit Kabayan because of the good weather. Also, the interest of the team to climb
the Mt. Pulag adds to the decision of the team to implement in Kabayan particularly at
Barangay Lusod where the keepers of Mount Pulag reside.
There were noted changes in the STC-Kabayan implementation, however. Since there were
overlapping university and college activities and the Ten Accomplished Youth
organization competition was on-going (which the DCS was nominated to join with the
STC as the project entry), the implementation was moved to later schedule and to nearer
location. Barangay Gusaran, the location of the Apesang Rock, was finally chosen.
Choosing the target area. The choosing of target area, according to Betty Listino, was
based on the places where these stories were gathered. Easier access and networking was
also considered. In the case of Itogon, aside from having stories from the place, the
Municipality, through its Mayor during that time, was very much willing to accommodate
and assist the program; thus, the smooth coordination. But their primary reason for
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implementing SoA at Itogon is the extinction of the Iowak tribe and at the same time to re-
validate the story of the “Aki and the Maja” from Lakay Coditiw, who was an elder of
the tribe.
Coordination for the Kabayan Caravan. In Kabayan, coordination was done by meeting
the municipal mayor for his approval to implement STC at Kabayan. Though the mayor
responded positively on the implementation, he mentioned that the transportation should
be the group‟s counterpart and the accommodation for the STC team will be provided by
the barangay LGU. Coordination with the barangay captain of Gusaran was also
conducted.
The team was able to coordinate with Kenneth Kelcho, municipal staff from Kabayan, as
referred by a DDC faculty member. A meeting was set with Mr. Kelcho regarding the
accommodation while the STC Team was having their continuous rehearsals. Kelcho,
based on interview, was able to see and appreciate the portrayals and warmly welcomed
the STC team in Kabayan. But because he was not exactly from barangay Gusaran, the
DCS adviser decided to send a letter addressed to the barangay captain of Gusaran.
Choosing stories to be portrayed for the Kabayan Caravan. The number one
criterion for the selection of stories to be presented is its origin. The stories from the target
area should be the ones to be portrayed. Thus, in the case of Itogon, aside from the “Aki
and the Maja”, another story was portrayed. According to the researcher‟s interview with
Christine Grace Sidchogan, they did not stick to the rule that the stories to be presented to
the target communities should be from there because the group may also portray other
stories from other municipalities as long as the language to be used is same language being
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used by the target community. Another alumnus added that what the storytelling aim is to
portray important values that may also be contributory to any community so any stories
may be presented in any areas so long as done in proper context and language.
In addition, according to the Key informants, the stories portrayed in the target
communities also depend on the occasion, the audience, and on what the storyteller wants
to instill to the audience. These things were carefully being noted by the core team before
the presentation. According to one member of the team, they have to mingle with some
members of the community a day before the play including the identified storyteller in the
community to determine the values that he/she wants to instill to the viewers. This is also
one form of validating the story that they will be portraying to the community.
Because the team was bound with the principle that stories to be portrayed should
be based on the origin of the stories, they chose between the stories of “Inculoh”, “Lalep
Ngapoh”, “Tiktik and the Apesang Rock” and “Baglao and the Balat-ek” which were
stories from Kabayan. They finally chose “Tiktik and the Apesang Rock”, a story from
barangay Gusaran, and the story of the “Inculoh”. These stories were also selected based
on the available facilitators who were willing to join the Caravan.
Tasking. Tasking was done through a meeting (refer to Appendix H). The STC
team assigned each active members task. The script made by the assigned script writer for
Ibaloi stories were reviewed and revised by another Ibaloi speaker who is a member of the
STC team.
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Designation of character was done based on how a member can properly portray such
character in the story. Necessary documents (permits, sponsorship forms, and letters to the
community) were also assigned to other members of the team.
Script writing for the Kabayan caravan. After the weeklong capability building,
there were assigned script writers for the team specifically for Ibaloi and Kankana-ey
stories. Improvement of the scripts for the convenience of the facilitators and
contextualization purposes was done simultaneously with the rehearsals. Most of the
facilitators were not Ibaloi speakers. The script writers needed to adjust and simplify the
script and even translated the script to Ilocano at first then to Ibaloi for the facilitators to
understand the things that the actors and actresses were delivering.
Props development for the Kabayan caravan. There were assigned people to
concentrate on the props development. However, problems were encountered due to
unavailability of other members to prepare such according to the respondents, this was due
to conflicting class schedules and school activities. The scenario then was whoever was
free should work on. Other DCS members who were not members of the STC were also
asked to help and assist in preparing the props.
Rehearsals for the Kabayan caravan. The rehearsal started two weeks before the
implementation and there were adjustments made on the script and the whole performance
including the facilitators acting.
Since it was the first time for the newly organized STC Team to really perform in
front of a community, their training was focused on internalizing on their characters and
the way they deliver their words.
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The core team acted as coach, facilitators and co-directors based on their experience
during the pilot campaign. Kier Daring, one of the core team and facilitator, was also forced
to join the cast because of his edge and skill in acting which he gained from the pilot
campaign. Through him, the actors were able to learn basic acting strategies that they may
apply in the portrayals, as one respondent noted.
The performance director also adjusted because she was new to the project and she
did not know her roles as director. She also indicated on her journal that she was thankful
to Joefrence Yangyang for assisting her and to other members who assisted her during the
rehearsals.
Sablan Caravan Planning. The STC-Sablan was conducted side-by-side with the
DCS Loving Out Loud (LOL) project where used clothes, footwear, and bags were
collected for the intended beneficiaries in Yabyabuan, Bagong, Sablan, Benguet
Coordination for the Sablan Caravan. Coordination was made by Marie Fe Wance,
a senior student of the organization who was conducting her study at barangay Bagong in
Sablan. She was able to coordinate the project with the barangay captain and the
accommodation of the STC Team to the head teacher of the school.
Also, the organization coordinated with the Municipality of Sablan with a sack of
rice as the municipality‟s counterpart for the STC implementation.
Choosing the stories to be portrayed for the Sablan Caravan. “Woman with
Pakgong” and the “Hunter‟s Wife” were the stories gathered from Sablan; thus, the chosen
story to be portrayed. But because the target area for the LOL was in another sitio of the
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same barangay, they thought of “Tiktik and the Apesang Rock” as an intermission for the
LOL program. The usual planning stage stated in the previous discussions was observed.
Script writing for the Sablan caravan. The script was rushed for the facilitators to use
during the rehearsals. And this time, the script was written in Ilocano first then was
translated to Ibaoi by an Ibaloi member of the team.
Props development for the Sablan Caravan. There were not much props needed in the
Sablan Caravan aside from the headdress for the dog, and the „pakgong‟, a musical
instrument made of bamboo. Thus, the STC team decided to buy additional musical
instruments since they do not have much time to prepare for one. These instruments bought
were also planned to be used in the future caravans.
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Figure 3. Shows the processes involved in the planning of the STC
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Processes Involved in the Implementation of the STC
STC Implementation Framework. Figure 4 shows the framework created by the
STC team for the implementation of the project.
The stories from the target community were portrayed by the STC Team. The portrayal is
facilitative in nature that while the stories were portrayed, the audiences are being asked
questions or asked to repeat important elements of the story, some will be asked to act.
Thus, after the portrayal, the stage is given to the community for them to tell more stories.
STC-Kabayan. The Kabayan Caravan was implemented on February 16 – 17, 2013 at
Gusaran, Kabayan, Benguet. After the courtesy call, the team first visited the legendary
Apesang Rock to be able to internalize deeper what they were going to present to the
community of Gusaran. On the other hand, the performance director together with the DCS
president and adviser were in-charge of the stage planning and initial discussion with the
local partners.
After the visit and initial planning, the acting team had their final rehearsal at the actual
venue.
During the performance, the “Tiktik and the Apesang Rock” animated version was first
viewed while waiting for the other community members who were invited to watch the
play. Invitation was done through personal visit of the team to different nearby houses to
advertise the show. Invitation of the local coordinator was also observed.
The program started formally with a prayer a community folk. The community folks
welcomed the STC Team with a song led by the elders of the community. An overview of
the project and the stories to be presented by the DCS president and DCS adviser,
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respectively were done to let the audience understand and have a glimpse of what the event
and what the project is all about.
The team first presented the “Tiktik and the Apesang Rock” where the audiences were
astonished by the entrance of “Kabang”, the biggest of the three birds. Also, the researcher
observed the DCS adviser as she coached the narrator to increase the volume of her voice.
There was also adlibs done during the portrayal like in the case where “Kabang” attempted
trice since “Seksek” almost forgot to laugh at her. It was just after the third attempt that
“Seksek” remembered to laugh aloud.
The portrayal of the first story was followed ahead by the question and answer portion
facilitated by an STC team who was an Ibaloi native using the Ibaloi language. Most of the
audiences that answered the questions were high school students because most of the
younger ones were observed to be shy to answer. One strategy that was observed by the
researcher from the facilitator was its ability to adjust on the situation. In times where the
audience or the kids for instance were shy, he went near the cluster of audience instead of
staying in front. This strategy, according to the team, would also depend on the dynamics
of the audience.
Another strategy used by the team to elicit participation from the crowd was through giving
prices. It was observed that the audience became more participatory when they found out
about the prices.
There were noted corrections from the audience based on the question and answer held
after the show. One was the term used in the story which is the „Inculoh‟ that was corrected
by one elder as „inculos‟. This was resolved within the discussion since it was based from
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the Kalanguya tribe. Another term corrected was the „kejang‟ which is supposed to be
„kayang‟. An STC member, who acted as „Maiketdo,‟ also mispronounced the term „afag‟
and said „avag‟, instead and was corrected by the
listeners.
By the audience correction, it was proven that they really were paying attention to the
presentation. This was also the basis of the researcher in determining whether or not the
crowd is listening attentively to the presentation.
During the portrayal, the performance director was still coaching the facilitators if where
should they go. Thus, the facilitators were able to contextualize their actions but the
researcher observed that they missed to emphasize some words that they might be
emphasizing because they were not really Ibaloi speakers. There were also some instances
where they deliver in monotone and their actions did not correlate with what they said
during the play.
After the presentation, the STC facilitator asked the crowd to retell the story to check
whether or not they understood the play. Lola Turin, an elder in the community, was able
to retell the story of the Inculos. She explained that „inculos‟ actually mean „to drain‟ and
the monsters found at the lake were huge alligators. Another story is how Gusaran got its
name, where three versions were created in the community according to her. She also retold
the story of the “Tiktik and the Apesang Rock” because according to her, the portrayal was
shortened. Thus, it was explained afterwards by Kenneth Kelcho that stories were really
like that. “It varies on the perspective of the people because other people may know other
version of the story you may know, the point there is the gist of the story is the same”.
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It can be observed that there was an active participation of the audience and the interaction
between the coordinator, implementors and community members as shown during the
question and answer portion where exchange of inputs and ideas were made.
The storytelling by the community was cut first for the turnover of SoA copies to the LGU
of Kabayan through Kenneth Kelcho and some youth who were involved in the dubbing
of the 2D animation of the “Tiktik and the Apesang Rock”. Also, a token of appreciation
was handed to the barangay LGU through the barangay captain and the kagawad present
during the activity. That led to another community singing by the community as a form of
thanksgiving to the STC Team. The STC Team in return sang
“We‟re here because you‟re here” as a response to their song.
Impressions from the community were also heard from Kenneth Kelcho and another from
other members of the community. This was followed by community eating together with
the STC Team while storytelling from the elders present was still going on. These were
attentively listened by the members of the STC team together with other children present
during the event.
STC-Sablan. The Sablan Caravan was a ride-on of the LOL project of the organization.
Thus, after the LOL project at sitio Yabyabuan in Bagong, Sablan, the STC at the central
part of the said barangay was conducted.
It was observed that the stage where the caravan will be conducted was set by the
community people together with the STC Team. At the same time, the STC Team prepared
for the portrayals while some of the community people started preparing the food.
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From the observations, it can be inferred that the STC created an avenue where the students
and the community folks can work together for one purpose.
The usual flow of the program was observed in Kabayan was also observed in
Sablan, Benguet.
The first story portrayed was the “Woman with Pakgong”. On the last part of the portrayal,
there were community kids who participated and tried to help the woman get out of the
stone that had engulfed her. This accidental participation of the audience was a surprise to
the team. This was fully appreciated by the STC team as they considered it as part of the
participatory approach that they want to happen in the STC project.
The story was followed by a question and answer portion that was facilitated by another
Ibaloi STC member. The kids were actively participating and answering the questions
being asked to them. One thing also the researcher observed was the sense of sharing
among the children. As they received their prices, they share it to others who were not
able to answer the questions.
The story of the “Hunter‟s Wife” was portrayed next. The story answers where the Libtong
Lake came from. And when the researcher was talking with the kids in front, they were
able to tell the researcher that they also knew three other versions of the story of the Libtong
Lake. They heard it from a certain elder from Libtong when they had their boy scout
camping in the vicinity of the lake. This indicates their knowledge on their folk stories.
This also implies that the children of Sablan are aware of their local stories.
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When the play was done, the stage was given to the elders of the community for their inputs
and retelling of the story among other stories that they want to share. There were two elders
who willingly shared and retold the versions of the stories they knew.
One of them was Lolo Pablo Laruan, known elder in the community. He re-told the story
of the “Hunter‟s Wife” which was actually the origin of the Libtong Lake found at
barangay Poblacion, Sablan. He also elaborated the story of the “Woman with Pakgong”
and claimed that the story tells about the etymology of the word „Bagong‟ from the Ibaloi
words „bakul‟ and „pakgong‟.
Also, Brgy. Captain Miguel Lauro told the story of “Petvak Petpetol” which was similar
to the story of the “Tiktik and the Apesang Rock”. The story started with two men who
went to the river to catch fish. One of the men went up to a big rock while the other is
below. Suddenly, the man on the rock disappeared and so the man below went up to look
for him. But he could not find him so he went home and told it to the villagers. So the
villagers decided to butcher and break the big rock but they were not able to do it.
One day a bird came, it was called „Petpetol‟ and when it alighted on the big rock the rock
was divided and it was later on called “Petvak Petpetol”.
The STC Team encouraged more community people to share stories but they were shy to
do so; thus, the portrayal was continued while waiting for the food to be prepared.
The STC Team decided to portray the “Tiktik and the Apesang Rock” in response to the
story told by the Brgy. Captain. The portrayal of the “Akie and the Maja” followed while
waiting for the food to be set.
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A community immersion initiated by the community was observed after the dinner with
the team. Continuous storytelling was also observed by the elders in the community
attentively listened to by both the STC team and te other community members left in the
venue.
It can be observed that strategies of implementation differ from one place to another. The
STC team was flexible in adjusting their style and strategy depending on the audience and
scenario.
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Figure 4. Shows the framework of the STC implementation
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Figure 5 . A sample photo of the portrayal of the Inculoh during the STC
implementation at Gusaran, Kabayan
F igure 6 . sample photo of the portrayal of the Hunter‟s Wife during the STC
implementation at Bagong, Sablan
Perceived Importance of the STC by the Respondents
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All of the respondents perceived that the storytelling caravan was good („mayat‟) for the
community. Specifically, some of the respondents also shared their perceived importance
of this activity in their life and in their community.
As noted by Teacher Ruth Polino, a substitute teacher at the school, she said that she was
able to realize that they should know the folk stories in their community so that they would
be able to tell it to their children and students, too. With this children would understand
more of their community instead of watching fairy tales such as Cinderella and the likes.
Knowing one‟s root determines ones identity. This was clearly noted by one of the
community folks who said in an interview that “one must have to know the stories of his/
her community to know where he/ she is rooted.”
In a seminal paper released by ECIP about indigenous peoples‟ education, it clearly
outlined that IP elders in the country assert that tribal and community life can only continue
if their youth are rooted in their culture, IKSPs and the ancestral domain, grow up with a
clear sense of identity, are committed to meeting the challenges and issues that face the
tribe, can assert their self-determination, and are conscious of being inheritors of a heritage
and their elders for the coming generations. This was further elaborated in an article by
Betty Listino published at Itogon Times.
Also, aside from the cultural integrity that one may learn from these folk stories, many of
the respondents noted the important values that may be learned from these stories. One
respondent said that these values would then become guiding principles to the youth in
making their decisions and responding to the challenges faced by the community. This was
supported by Kamat (2012) that says that the traditional role of stories are preserving and
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teaching established values and making it the most important vehicle of social change
added Prasad, et al. (2010).
Another respondent said that storytelling can become a good bonding experience between
the elders and the youth since they observed a mixed audience during the portrayals. Some
respondents also noted respect being gained by the elders through this kind of activity since
elders is always sought for stories and for the values that may be learned from these stories
that they are sharing. Another adult respondent noted that the simple gathering around a
bonfire creates an environment where wisdom and knowledge is passed from the stories
that are being told.
The existence of a bonfire, as one of the community folks at Bagong mentioned, was a
symbol for the „annak ti ili‟ (the children of the community). This was properly noted by
the STC team and considered bonfire to be present in all their caravans, as much as
possible. Also, the bonfire was in respect for the earth and the sustenance it provides as
believed by Michael Kelly (2013). He also added that bonfire mark the link between death
and life, sowing of seed and harvesting of crops, lighting and rekindling the flame, couples
and families come to the fire for a blessing and they wish each other a bountiful and healthy
year.
Mode of Evaluation by the STC Team
The scope of evaluation includes mainly the participation of the audience and their
understanding to the portrayed stories.
The evaluation by the STC team was done through question and answers every after
portrayal of stories. One of the STC Team was assigned to give questions about
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the portrayed story to the audience and the community will answer. Aside from the
questions asked, the audiences especially the youth were asked to retell the highlights of
the story. This was to asses if the audiences really listened and understood what have been
presented.
Also, according to the team, on the part of the elders and other community people, the
success of the project was assessed when there was continuous storytelling after the
portrayal of the stories by the STC Team.
Kabayan Caravan evaluation. During the Kabayan Caravan the students were shy but they
were still able to answer the questions because they were motivated with the prizes given.
The participation of elders was also appreciated by the STC Team because stories were
unending. The STC team noted that indeed, the community is rich with culture such as
beliefs, practices and including folk stories as highlighted in the stories that they were
sharing.
According to the researcher‟s interview with Mylene Primo, a high school student, she
said that they were able to hear stories from the elders of the community when there were
occasions in the community where they get to encounter their elders. She also added that
they were required by their teachers in other subjects to gather folk stories; thus, they were
able to have time to mingle with their lolos and lolas.
Sablan Caravan evaluation. The Sablan Caravan was mostly attended by elementary
pupils found within the proximity of the school. It can be noted through observation that
the students were so active and had grasped the stories easily.
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According to the researcher‟s interview to some of the community people, they would
prefer to say that they know little of the folk stories in their community for the kids to
approach the elders in the community. Lakay Pablo or lolo Lolong and other elders in the
community were the considered story holders in the community whom they were referring.
It can be noted here that the STC team used oral evaluation and observation
instead of written ones.
Figure 7. A sample photo of the mode of mode of evaluation during the STC
implementation
Values being Communicated in the STC
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The STC uses folk media by staging folk stories to facilitate oral tradition or storytelling
to be specific in the community. Hence, there are values learned in folk stories. As Kamat
(2012) emphasized, the traditional role of folk media is to preserve and teach values.
Table 3 shows the values being communicated in the project as perceived by the
respondents. The respondents were divided into two; the STC team and the community
folks.
Values Perceived by the STC Respondents. Values perceived by the STC
respondents were as well divided into two: the personal level and the organizational level.
On a personal level, the following values were perceived by the STC respondents from the
stories.
The acknowledgment of the creator. The existence of a creator is no doubt believed by
individuals but the acknowledgement that he is present and thus be respected was also
observed in the stories through the miracles and natural powers used by the characters of
the stories. The creator is usually portrayed in the plays as Kabunian.
Being charming. Charm, the ability to convince someone, is one of the assets of the society
to allure sponsors for the project. This may involve also communication skills for the
lobbying of the project to the prospect sponsors and the skills to communicate with the
community folks.
Cooperation and teamwork. Cooperation was defined as the common effort of a group to
achieve mutual benefit. This was shown on the props development and during the sourcing
out of sponsors and IGA (Income Generating Activities). Whoever was free was obliged
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to help the others. This was also strongly observed throughout the process of the
storytelling caravan, from the planning to implementation.
Discipline. Some STC members also mentioned that through the caravan, they were able
to discipline themselves in form of their time during rehearsals.
Friendship. Friendships were built among the STC team members despite their differences
in age and year levels. Thus, it leads to the realization that the gap between the year levels
was bridge through their involvement in the project.
Humility. Most of the STC mentioned this as they were always reminded of the story of
„Tiktik and the Apesang Rock‟. Others also mentioned that they were humbled by how the
community folks treated them and how the beneficiaries appreciated their
efforts.
Patience. This value was more learned or gained during the rehearsals where time and
schedules would always come in conflict. One of the Core team said that she really had to
add her patience for her to be able to understand the dynamics of her team mates.
Proper time management. According to one member, the ability to manage his or her time
wisely would be an asset for the team if they would consider. With the fact that they were
all students and the project should not be their focus they were able to identify this as a
value because doing such helped them minimize cramming.
Respect to the other culture. Since most of the team was composed of different culture, the
project was able to open the eyes of the non-Cordilleran blood. This was further attested
by Rejie Ann Supsupin, who presented the project in the TAYO search despite her being
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non-Cordilleran. She added that she come to understand and love the culture of the place
through this activity; thus, committing herself for the continuance of the project while she
still can.
There were also values perceived from the project which includes the following:
Being responsible. Being responsible is same as being accountable and trustworthy. The
STC team who were partly responsible needed the value to sustain the STC. A good
example of it was the core team being responsible to the new members. Another indication
of being responsible was by doing what was assigned to them to accomplish with no
complaints at all, as observed by the researcher.
Value of friendship. The „walang iwanan‟ adage became common to the team during the
entire process. Aside from being friends with the other members of the STC team the
members were able to make friends with other people from the communities during the
caravan visits. They were also able to meet friends from other places through the project‟s
networking and partners.
Value of listening. Understanding what you hear is listening. Thus this is important in the
project according to one respondent because she had a hard time being assertive to the
group because she does not know how to get angry. Also, some of the STC team members
learned to value it because the storytelling caravan really requires listening to show respect
to the elders.
Self-esteem. Regina, one of the core team, said during an interview that she was able to
boost her self-esteem when had joined the project. She was supported by the other STC
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Team because they said that through the project, they were able to act in front of many
people with pride and courage.
Value of knowing to act. According to some of the respondents they were not good in acting
before they joind the project. This became a challenge for them. But when they already
presented the stories they realized that if they would practice well during rehearsals, they
will be better performer and can even achieve more.
„Bayanihan‟. This was observed on both of the community the caravan visited. This was
observed when the barangay officials of Gusaran cooked for the community and the
community folks of Sablan who meet the team to carry the loads.
Learning to put yourself on the shoes of the community folks. The experience of community
immersion showed the team how to live, and hang with the community folks. Some of the
STC team had never experienced dwelling with other community folks aside from their
own community. But with this project, they said that they were able to experience mingling
with other people that gave them the opportunity to better understand their way of living.
‘Tangkilikin ang sariling atin’. „Atin‟ pertains to the folk stories they had in the
community. “We should know and share it” as one of the respondents said.
One respondent said that this is a value that says one should patronize their own stories in
the case of the project. The team also mentioned during the FGD that they should learn
more stories from the community aside from the stories they just watched on the television.
Values Perceived by the Community Folks. The community folks were subdivided into
three: the children, the adult, and the elder. The three groups perceived same values though.
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Humility and kindness. These were the values noted by the community folks in the story
of the „Tiktik and the Apesang Rock‟ and the „Hunter‟s Wife‟. One of the children
answered “haan nga agtangtangsit” (never be so mean or bad).
Value of not underestimating. Also, one of the adult from the community said that
“haan nga tagtagabasiten ti babasit” (don‟t underestimate the small ones). This was also
observed during the portrayal of the Tiktik and the Apesang Rock as most of the
respondents noted.
There were also perceived values from the stories according to the community folk
respondents such as the realization of the importance of the stories in communities. Since
stories portray values, the stories are important to the community. Thus, aside from values,
this could also serve as norms for other children according to one of the adult.
Another lesson was the importance of conserving folk stories. The community is rich with
folk stories that the elders were willing to share to the children to continue the passing on
of these folk stories.
Another respondent said that stories should be passed on. Folk stories should be learned
because of its importance said one of the elders during an interview. Because there will
come a time that they (elders) would be gone.
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Table 3. The values perceived in the STC as perceived by the respondents
STC TEAM
COMMUNITY FOLKS
Personal Level
Organizational Level Children
Adult
Elder
1. Perceived values in Acknowledgment of ‘bayanihan’
‘haan
nga ‘haan
nga Humility
the stories
agtangtangsit’
tagtagabasiten ti
the Creator Being Learning to ‘put Humility/ Kindness babasit’ Humility
Charming
yourself in their
(community folks)
Cooperation/
shoes’
Teamwork
‘tangkilikin
ang
Discipline
sariling atin’
Friendship
Humility
Patience
Proper
time
management
Respect to other’s
culture
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Table 3. Continued
2. Values learned
Being Responsible
Realization of the Stories should be
in the project
Friendship
importance of the passed on to the
youth
Listening
stories of ‘il-ili’
Realization that the The
community
Self-esteem
community is rich should know folk
with folk stories thus it stories because there
Value of knowing to
should be
are values in it
Act
learned for it to be
conserved
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Sustainability of the Project According to the STC Team
Generally, the sustainability of the project depends on the actions of the STC Team.
According to Christine Grace Sidchogan, the team should ideally continue seeking
sponsorships for the upcoming STC implementations. Thus, there should also be close
coordination or networking with the LGU of the target venue in advance to give time for
the LGU to prepare for the activity.
The STC was basically sustained by its members, thus, there was already established team
that would sustain the project, according to the respondents. Strong support from the DCS
and the DDC also made the project strong, some STC members noted.
Another respondent noted that in order to entice more members to join the STC, they
shared interesting stories during the implementation through facebook by creating a group
where they can share photos and insights. Also, the project briefer that was given to the
sponsors including posters that was made for the project helped in the sustainability of the
project, as said by many of the STC team, since their partners were sending their support
to the team trough financial assistance among others.
DDC faculty respondents also noted that since SoA is one of the extension programs of
the Department with STC as its allied project, it would be easier to mobilize students for
their participation as part of their practicum or field learning exposure.
Problems Encountered in the Planning and Implementation of the STC
In every project, there would always be problems that would arise that should serve as
challenges to the efficiency of the project according to one of the respondents.
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Hence, like any other projects, the STC was brought into concept because of the rise of
problems.
During the series of FGD’s to the STC Team and interviews to the DCS Adviser,
several problems during the planning and implementation were identified.
The problems were considered internal and external. The lists of problems were showed
in Table 4.
Internal Problems. Internal problems were the problems encountered by the STC
team.
Language as a barrier. There were only few of the STC team who were really fluent in
speaking Ibaloi and the past implementations were conducted on Ibaloi communities. That
was also the scenario of the script writers. Consistency of the script also bothered the team
because the script was many times revised for the convenience of the cast considering that
they are not Ibaloi speakers. According to the STC Team even when they were at Gusaran
already, the script was still being revised.
Despite the fact that most of the team was not able to understand Ibaloi they were not
forsaken by the Ibaloi members. The script was revised by the Ibaloi speakers who were
part of the team. They even indicated on the script the Ilocano version of the script for the
facilitators to understand what they were going to deliver. Also, the diction and some
pronunciation were corrected by the members themselves during the rehearsal.
Limited time. There was really not enough time for the preparation since the Kabayan
Caravan because of the overlapping activities of the society, according to the team. Also,
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some of their time during their rehearsal was wasted from waiting for the others, thus, it
resulted to overtime and re-scheduling of practices.
Late coordination. The coordination was also commented even by the barangay officials
of Gusaran. The case was the team acquired the mayor’s approval on a meeting at La
Trinidad, thus, on the part of the barangay LGU they were not aware because according to
one of them, the letter just arrived the day before the team arrived. Though the team already
had coordinated with one community member, still matters were not properly discussed
among the members of the LGU. Thus, it served as a lesson to the team that the
coordination should be earlier and should be done face to face, according to them.
Inconsistency of the script. There was also observed inconsistency in the script due to the
continuous changing nature of some of the scripts. This did not affect the implementation
though, as noted by the team. Also, the facilitators were really good in memorizing the
script that made the portrayals smooth, as they added.
There was sudden change on the characters. Due to conflicts of academic requirements
others were not able to attend the rehearsals and the caravan, this led to abrupt changes in
the characters of the stories. The team decided to replace those who may not join the
rehearsals for the sake of the project. The facilitators who were newly assigned were coping
easily, however.
Lack of attires, musical instruments and other props. Since the project just started, the team
was not totally equipped with props, attires and even musical instruments for the
background music. With this, the DCS decided to borrow the money from the TAYO
Awards to buy g-string, musical instruments out of bamboo, and headdress for the dog.
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Lack of documentation equipment. The team also was not really prepared when it comes
to heavy documentation since they do not have enough gadgets or equipment. This made
the team partner with the SDS multimedia, a multimedia group with enough documentation
equipment.
Not enough knowledge on stage presentation. Most of the new members of the team were
first timers on stage that made them at the beginning nervous or uneasy. But the core team
and other members were able to assist and guide them well, according to the team.
Undesirable attitudes among the members. Undesirable attitude were normal as long as it
can still be tolerated and controlled, this was according to one of the members. The only
solution for it is discipline, she noted.
External Problems. External problems were the problems observed among the community.
Some of these are the following:
Less participation from the children of Kabayan. Ibaloi were understandably shy but it was
not always the case. The children in Kabayan were at first afraid of the facilitators that
asked them questions but when they found out that there were prizes given they were
participate actively in the discussion. There were also more high school students than the
elementary pupils during the implementation at Kabayan.
Less participation from the elders of Sablan. There were only two from the community
folks who were able to tell stories. Thus, the STC Team presented other stories to entice
more story tellers.
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Other problems include late coordination, late arrival of other community folks and late
start of the program due to lack of time to prepare venues and among others.
Table 4. Shows the internal and external problems encountered in the STC planning and
implementation.
INTERNAL
ADJUSTMENTS/ SOLUTIONS
1. Language Barrier
-Those non-Ibaloi speakers asks the Ibaloi
speakers
2. Limited time for the preparations
-overtime
3. Late coordination
-triangulation (Sir Kenneth, Mayor, letter to
the barangay)
4. Inconsistency of the script
-the facilitators did their best to memorize
the updated scripts
5. There was a sudden change on the characters -the new facilitator/s cope up through the
practices
6. Lack of attires, musical instruments and -the team bought (g-string, musical bamboo
some props
instruments, headdress, and others)
7.
8. Lack of documentation equipment
-SDS multimedia was tapped
9. There is no standard program of the
-the emcee based the program on the past
activity
implementation with the guidance of the
DCS adviser and president
10. Not
enough
knowledge
-the Core Team assisted the newly members
in
stage presentations
11.Undesirable
attitudes
among -discipline
the members
EXTERNAL
Adjustments/ Solutions
1.
Less of participation from the -they were motivated when they knew about
children in Kabayan
the prizes
2.
Less of participation from the -only two of the elders told story
elders in Sablan
3.
Others
Late and not personal coordination
Late audience (Kabayan)
Late start of the program
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SUMMARY, CONCLUSIONS AND RECOMMENDATIONS
Summary
The study was conducted at Gusaran, Kabayan and Bagong, Sablan located at
Benguet province. It aimed to document the Story Telling Caravan Project of the
Development Communication Society-Benguet State University (DCS-BSU).
The study was conducted to specifically determine the socio-demographic profile
of the respondents; enumerate the processes involve in the planning of the Story Telling
Caravan; document how the story telling is implemented to the intended communities;
identify the perceived importance of the story telling by the respondents; discuss how the
Story Telling Caravan is evaluated; determine how the project is being sustained by its
members; determine the values being communicated in the Story Telling Caravan as
perceived by the respondents; and, determine the problems encountered in the planning
and implementation of the Story Telling Caravan.
There were a total of 50 respondents; 30 from the two communities and 20 STC
team members. The community folks were selected randomly and interviewed by the
researcher. The STC team on the other hand was subjected to a focused group discussion.
The STC project includes 3 stages the planning, implementation and evaluation. The
planning stage basically incudes the conceptualization, choosing of the target area,
coordinating with the LGU of the target area, choosing of the stories to be portrayed,
tasking, writing of scripts to be used in the portrayal of the stories, the development of the
props and the rehearsals.
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On the other hand, the implementation stage includes the courtesy call upon arrival at the
target area, preparing the venue, the formal program (opening prayer, opening remarks,
overview of the project), the portrayal of the stories and the evaluation every after story
portrayal, and the community storytelling.
The last part of the framework is the evaluation stage where the audiences were asked
questions regarding the stories portrayed. Aside from the questions and answers, some of
the audiences are ask to retell the stories to assist if they are really paying attention to the
portrayal. The evaluation stage also includes the response of the elders if were they enticed
to tell stories.
The STC was perceived by the respondents as important because of the values learned
within the stories and even in the project.
Conclusions
The following conclusions are drawn based on the findings:
1.
Overall, the objectives of the project were basically met from planning to
implementation;
2.
The socio-demographic profile affects the performance of the team especially their
ethnic affiliation and the dialect they spoke;
3.
Usual procedure of identifying the target audience and their profile is needed for
effective planning and implementation;
4.
The STC project has a unique framework that is convenient for the community
folks because of its participatory scheme;
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5.
Strong partnership and linkage is important for the success of any project or
program;
6.
There are values perceived in the STC not only in the stories being portrayed; and,
7.
Problems and issues in projects like the STC may arise from internal and/ or
external forms but can be managed through continuous reflection and continuous dialogue
between the implementors and beneficiaries.
Recommendations
Based on the findings and conclusions the following are recommended:
1.
The STC Team should continue personally coordinating with the municipal mayor,
barangay captain and other gatekeepers for smooth planning and implementation;
2.
As recommended by the DDC faculty, principles of community immersion should
also be imparted to the STC team since they are directly dealing with the community
through the project as part of their capability building;
3.
Based on the problems noted, the scripts that were already developed even after the
capability buildings should be improved and contextualized beforehand to minimize being
troubled with its revisions;
4.
Background and knowledge on cultural musical instruments should also be
observed by the STC Team for a better presentation, as recommended by the team
itself;
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5.
For effective and powerful storytelling, the STC Team may consider having
another session on acting and stage presentations for effective delivery and portrayal as
recommended by some community respondents and as observed by the researcher; and,
6.
The DCS may consider conducting a summer camp to train and equip the
STC Team on the upcoming caravans.
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LITERATURE CITED
ANONYMOUS. 1970. Benguet File. Baguio Printing & Publishing Company, Inc. 34
Kisad Road, Baguo City. P. 9
AWAS, F. Y. 2009. Staged Bendian as a medium of Community Dialogue and action for
Development and Cultural Interity in Contemporary KabayanBanguet, Philippines. MS
Thesis. Benguet State University, La Trinidad, Benguet.
CAMBRIDGE DICTIONARY ONLINE.2011.Retrieved September 19, 2012,from
http://dictionary.cambridge.org/dictionary/british/folk-tale.
CHAPKE R. and BHAGAT R. n.d. Traditional Folk Media Based Communication Model.
Retrieved September 10, 2012, from http://agropedia.iitk.ac.in/openaccess/sites/
default/files/MDC%207.pdf.
CUSTODIO, P. A. 2008. Storytelling in Qualitative Development Communication
Studies: Locating the Narrative of Participation trough the Interpretative Lens. The
Philippine Journal of Development Communication. UPLB Printing Press. Vol. 1 No. 1.
P. 77.
DUMANGHI, M.T. 1995. Cultural Practices, beliefs and Rituals of the people of
Mountain Province: Their Contribution to Education. Ph.D. Thesis. Benguet State
University, La Trinidad, Benguet. P. 11
FLOR, A.G. 2002. Digital Tools for Process Documentation: Capturing and Mining Best
Practice and Lessons Learned. SEAMEO SEARCA, College, Los Baños, Laguna,
Philippines. Pp. 11-21.
JINADASA, M. P. K. 2011. Community Development Programmes and Folk-Media: A
Communication Model for Sri Lankan Rural Society. Department of Mass Communication
University of Kelaniya Dalugama, Sri Lanka. Retrieved December 10, 2012 from
http://www.caluniv.ac.in/Global%20mdia%20journal/
Winter%20Issue%20December%20%202011%20Articles/AR-4%20Jinadasa .pdf.
KAMAT, P. 2010. Short essay on the Impact of Folk Media.Retrieved September 19,
2012, from http://www.preservearticles.com/2012011821125/short-essay-on-theimpact-
of-folk-media.html.
KELLY, M. 2013. ‘Keep Her Lit’ and promote unity through community. The Mayo News.
Retrieved
March
18,
2013
from
http://www.mayonews.ie/index.php?
option=com_content&view=article&id=17243:keep-her-lit-and-promote-
unitythroughcommunity&catid=23:news&Itemid=46
LOCAL GOVERNMENT OF BENGUET. Province of Benguet Official Website.
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Retrieved December 3, 2012 from http://www.benguet.gov.ph.
NATIONAL STATISTICAL COORDINATION BOARD-CORDILLERA
ADMINISTRATIVE REGION. 2013. Facts and figures Kabayan, Benguet. Retrieved
March 18, 2013 from http://www.nscb.gov.ph/rucar/fnf_bngt _kbyn.htm.
NATIONAL STORYTELLING NETWORK. 2012. What is storytelling? Retrieved
December 5, 2012 from http://www.storynet.org/resources/ whatisstorytelling.html.
ONG, W. J. 2001. Orality and Literacy: The Technologizing of the Word. Metheun & Co.
Ltd. Great Britain. P. 11.
PAWAR, S.N. and PATIL R.B. 1994.Problems and Prospects of Development
Cooperation Voluntaryism Communication Social Tension and Weaker Sections in Rural
India.K.M. Rai Mittal for Mittal Publications, A-110, Mohan Grden, New Delhi – 110059
(India),
September
19,
2012.
Retrieved
from
http://books.google.com.ph/books?id=Xf0wwQFBFYYC&pg=PA16&lpg=PA16
&dq=Role+of+folk+media+to+development&source=bl&ots=3zKv4HmLAe&si
g=CNuggveF5JxsJIWd5RhgyVIWnh0&hl=en&sa=X&ei=En9ZUMz6KIq9iAeEr
oC4BQ&redir_esc=y#v=onepage&q=Role%20of%20folk%20media%20to%20de
velopment&f=false.
PHILIPPINE ISLANDS. Lusod. 2010. Alojado Publishing International. Retrieved
December 5, 2012 from www.philippine-islands.ph.
PRASAD, R. E., V. K. SINGH, A. DEO AND D. RAM. 2010. Openagri: An Open
Access Agriculture Research Repository. Role of Traditional Folk Media in Rural
Development.Retrieved
September
19,
2012, from
http://agropedia.iitk.ac.in/openaccess/?q=content/role-traditional-folk-mediarural-
development.
PRIWAN, R. 2008. The Story of Folk Tales: Importance of Folk Tales. Retrieved
September 19, 2012, from http://www.thaifolk.com/doc/literate/tales/ importance_e.htm.
TIROL, M. S. 2002. Process Documentation Research. Digital Tools and Techniques for
Process Documentation. University of the Philippines Los Baños Printing Press. Pp. 11-
20.
VALUES.COM. 2013. The Foundation for a Better Life. Retrieved March 18, 2013 from
http://www.values.com/
VANSINA, J. (1985). Oral Tradition as History. Madison, Wisconsin: University of
Wisconsin Press. Retrieved September 19, 2012, from http://books.google.
com.ph/books?id=zKbGbwzpCHsC&pg=PR3&hl=tl&source=gbs_selected_page
s&cad=3#v=snippet&q=Oral%20tradition%20definition&f=false.
VICTOR, L. 2007. Concept Paper: Elucidating the Foundations of Cultural Integrity of
Indigenous Peoples Communities.
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WORDNIK. Socio-demographic. Retrieved
September
19,
2012, from
http://www.wordnik.com/words/socio-demographic.
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TAY-OG, KAREN B. APRIL 2013. Facilitating Story Telling As a Medium of
Reviving Oral Tradition: The Case of the Benguet State University Development
Communication Society Story Telling Caravan. Benguet State University, La Trinidad,
Benguet.
Adviser: Filmore Y. Awas, MDevCom
ABSTRACT
The study was conducted to document the processes observed in the planning,
monitoring and evaluation of the story telling caravan of the BSU-Development
Communication Society.
Specifically, the study determined the socio-demographic profile of the
respondents; determine the socio-demographic profile of the respondents; enumerated the
processes involved in the planning of the Story Telling Caravan; documented how the story
telling is implemented to the intended communities; identified the perceived importance
of the story telling by the respondents; discussed how the Story Telling Caravan is
evaluated by the implementors; determined the values being communicated in the Story
Telling Caravan as perceived by the respondents; determined how the project is being
sustained by its members; and determined the problems encountered in the planning and
implementation of the Story Telling Caravan.
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There were 30 respondents that were randomly selected from the two communities
where the Story Telling Caravan was implemented; 20 of them were youth, seven were
adult, and three belonged to the elders. On the other hand, there were 20 STC Team
members who were subjected into series of Focused Group Discussion (FGD).
The objectives of the project were basically met from planning to implementation.
And the STC project has a unique framework that is convenient for the community because
of its participatory scheme.
But like any other projects, there are problems and issues that may arise from
internal and/or external forms but can be managed through continuous reflection and
continuous dialogue between the implementers and the beneficiaries. The team should
continue personally coordinating and networking with municipal mayors, barangay
captains and other gatekeepers for the smooth planning and implementation.
Also, for effective and powerful storytelling, the STC Team may consider
conducting a summer camp to train and equip the STC Team on the upcoming caravans.
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INTRODUCTION
Rationale
Folk media or traditional media, which are mostly in the form of storytelling, skit,
mini drama, or even a simple stage play, has long been appreciated in rural societies
because of their simplicity in presenting information aside from their entertainment
component.
According to Chapke and Bhagat (n.d.), folk media can reach the masses where
other audio-visual media cannot (e.g. to areas that have no electricity, where equipment
cannot be brought inexpensively and where most of the population is illiterate). One
type of folk media is folk stories, which play a vital role in knowledge transfer and
personality development, as noted by Priwan (2008). Songsin (1999), as cited by Priwan
(2008), also added that folk stories has power to influence person‟s perception, attitude,
behavior, and many other factors important to human‟s life as well as the society. These
are stories that are being passed on from parents to children.
Retelling these stories is part of a rich oral tradition that binds the community
together. As elaborated in a working paper of Victor (2007), „kwentuhan‟ for the IP people
are essential moments because it is these moments that maintain the collective mind and
psyche of the tribe that synergizes their sense of oneness in this dimension.
In addition, Custodio (2008) said that “our stories and everyday talk hold meanings
which reflect views and understanding of ourselves, environment, other people, what needs
to be done and how; of what happened yesterday; what is happening today; and what may
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happen tomorrow”. It only means that anything shared orally under the sun can be a story
as long as it encompasses values or moral lessons.
The Cordillera is rich with folk stories which are being transferred from generations
orally. Thus, the Development Communication Society (DCS) of Benguet State University
(BSU) formulated a Story Telling Caravan, a continuation of the just concluded Stories of
Alapu (SoA) Project of the same organization and the Department of Development
Communication to address the threats on folk stories such as death of elders, and the
disinterestedness of the youth to folk stories.
While the SoA-Benguet and Mountain Province Project was able to attain its goal
to preserve the gathered stories by putting them into paper, the death of the storytelling
tradition is prevalent; thus, the Story Telling Caravan project.
The Story Telling Caravan has four general objectives: 1) to bridge the gap between
the elders and the youth through innovative communication strategies; 2) to come up with
an efficient storytelling framework; 3) to revitalize the oral tradition of Benguet and
Mountain Province; and 4) to serve as a channel to bring back to the communities the
stories that has been gathered from them.
Hence, the project hopes to stir the community and make them understand and
realize that their stories are brought back to them and for them to see that their stories are
used to bring out the values attached to these stories.
Along this process is the importance of documentation; thus, this study. Process
Documentation, as summarized by Torres (1996) as cited by Tirol (2002), is a tool for
documenting the development and implementation process of a particular
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undertaking; and taking note of the process (people, time, activities that happened to bring
about a particular decision or plan). Torres (1996) as cited by Tirol (2002) also list four
major purposes of PD: a) to provide data on a chain of events that help explain the
occurrence of phenomenon; b) to assess group dynamics and depict pattern of behavior
that help explain why people behave the way they do; c) to identify key personalities or
characteristics involved in decision-making in a group; and d) to serve as a pool of data for
drawing out lessons learned (what worked, what did not, why) and for strategizing.
A full documentation of the process of its conceptualization, implementation and
evaluation is therefore necessary. This is to help other members of the organization,
researchers, project implementers and stakeholders in understanding the working of the
project better. Insights from this documentation may serve as a point of reflection for
possible improvement, if there are, or replication for other similar projects that the
organization or other groups may have in the future.
Statement of the Problem
1. What is the socio-demographic profile of the respondents?
2. What are the processes involved in the planning of the Story Telling Caravan?
3. How is the Story Telling Caravan implemented to the intended communities?
4. What are the perceived importance of the Story Telling Caravan by the
respondents?
5. How is the Story Telling Caravan being evaluated?
6. How is the project being sustained by its members?
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7. What values are being communicated in the Story Telling Caravan as perceived by
the respondents?
8. What are the challenges encountered in the planning and implementation of the
Story Telling Caravan?
Objectives of the Study
Generally, the study documented the processes observed in the planning,
monitoring and evaluation of the storytelling caravan.
Specifically, it aimed to:
1. determine the socio-demographic profile of the respondents;
2. enumerate the processes involved in the planning of the Story Telling Caravan;
3. document how the story telling is implemented to the intended communities;
4. Identify the perceived importance of the story telling by the respondents;
5. discuss how the Story Telling Caravan is evaluated by the implementors;
6. determine the values being communicated in the Story Telling Caravan as
perceived by the respondents;
7. determine how the project is being sustained by its members; and,
8. determine the problems encountered in the planning and implementation of the
Story Telling Caravan.
Importance of the Study
The study may serve as a documentation of the efforts made by the Development
Communication Society and the Department of Development Communication. It may
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serve as a guide to the organization and may provide insight for the continuation of the
Story Telling Caravan project.
It may also serve as a reference to other organizations who will be having similar
projects and also to other researchers who will be having the same scope of study.
Furthermore, the study will also help other people understand the workings of the project
better.
Scope and Limitation of the Study
The respondents of the study were the community folks from the Municipality of
Gusaran, Kabayan and Bagong, Sablan where the Caravan visited this year. Thus, the study
was conducted on December 2012 – February 2013.
The study is limited to documenting the processes in the conceptualization,
implementation and evaluation of the Story Telling Caravan project and will not cover the
immediate impact of the project to the community.
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REVIEW OF LITERATURE
Stories of Alapu Project
Figure 1 shows the timeline of the stories of Alapu project.
The Stories of Alapu Project is an Information, Education, and Communication
(IEC) campaign program of the Development Communication Society. It has the following
objectives; a) identify and gather popular stories of Alapu (old folks) in the provinces of
the Cordillera (Phase I and Phase II); b) produce three types of IEC materials for children
from the identified stories: story books, radio drama, and animated cartoon video; c)
conduct an Information Campaign to the different public and private elementary schools
in the Cordillera; and d) distribute the developed IEC materials to the Department of
Education-CAR, and identified non-government organization that are interested to take
part in the campaign
In 2005, this project has made the DCS to be distinguished as Ten Accomplished
Youth Organization by the National Youth Commission and the TAYO Awards
Foundation, Inc. The stories of Alapu project involve three stages: the co-curricular
inception process which included the field gathering of stories, the production process, and
the campaign. The Production stage was initiated by the Core Team who has produced
story books.
Stories of Alapu Project started as a co- curricular program of the B.S.
Development Communication program.According to Betty C. Listino, a DevCom alumna
and former adviser of the Development Communication Society, the story gatherings
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started with the first batch of BSDC during the Summer Internship in 2002. They were
assigned at SuLuMaBaDuKa, a Christian Children‟s Fund funded non-government
organization (NGO) based in Masla, Tadian and their first assignment is to collect creation
stories.
The next batch of story gatherers was the 3rd batch of BSDC on the summer of 2004
who were assigned at Bontoc, Mountain Province and Buguias, Benguet during their
summer communication internship. They were also required to gather folk stories from the
two provinces; Benguet and Mountain Province and at the same time to compile the
gathered stories. Loreta Dueñas, a Community Broadcasting Major who belonged to the
3rd batch submitted her work in a storybook form that gave their internship adviser at that
time the idea that the gathered stories may be packaged like what she did.
The 4th batch of BSDC continued the legacy. Though the idea came from the 3rd
batch, it was the 4th batch that started the production stage as part of an educational
requirement in their major subject. They created coloring books of “The Chinese Man‟s
Legacy” and “The Woman with the Knife”. Upon realizing that the requirement
could become a project, the Development Communication Society (DCS), the student
organization of the BSDC students of Benguet State University, made this as a project
entry from 2004-2005. The project was initially called, “Stories of Alapu: An Information,
Education, Communication (IEC) Campaign among school children in the
Cordillera” with the two storybooks produced.
Filmore Y. Awas, the DCS president at that time, sourced out PhP 20, 000 from the
Supreme Student Government under the presidency of Mark Gay-as purposively for the
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printing of copies of the two storybooks for distribution and evaluation. The ADIVAY
2005 was in time for the pilot testing of the storybooks, thus the DCS distributed copies of
the storybook to the children who have attended the ADIVAY Festival.
In the same year, the DCS was awarded as one of the Ten Accomplished Youth
Organization (TAYO) through the Stories of Alapu project. This started the expansion of
the project.
In 2006, a core team which is composed of the DevJourn Majors and some EdCom
majors continued the field gathering.By the year 2007, the core team was able to produce
the Mountain Province edition in full colored storybook with Dr. Maria Luz D. Fang-asan
as the project leader.In 2009, the Benguet Edition of storybooks was completed with Betty
C. Listino as the project leader.
In 2011, the 9th batch prepared the animated version of some of the stories published
under the Benguet Edition. It was in the same year that a digitalized story was created by
the Department of Development Communication with Filmore Y. Awas, Christine Grace
B. Sidchogan, and Anna Liza B. Wakat as study leaders.
In 2012, the Story Telling caravan, which is the campaign stage of the Stories of
Alapu, was piloted in sitio Lusod and Domolpos, Tinongdan, Itogon, Benguet.
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Traditional Folk Media
Traditional folk media is defined by Jinadasa (2011) as the way of transferring the
knowledge and the wisdom to new generation from the past generation.
It has peculiar characteristics that it can reach the masses where other audio-visual
media cannot, e.g. to areas that have no electricity, where equipment cannot be brought
inexpensively and where most of the population is illiterate this was elaborated by Chapke
and Bhagat (n.d.).
Examples of traditional folk media added by Jinadasa (2011) are chattering,
gossips, riddles, proverbs, folk lyrics, songs, singing styles, folk dramas, skits, role plays,
storytelling, folk tales, riddles, idioms, folk-music, mask dance, puppet dance, folk dances,
ceremonial occasions, rites and rituals.
One type of folk media is folk stories, which play a vital role in knowledge transfer
and personality development, as noted by Priwan (2008). Songsin (1999), as cited by
Priwan (2008), added that folk stories also has power to influence person‟s perception,
attitude, behavior, and many other factors important to human‟s life as well as the society.
These are stories that are being passed on from parents to children.
Storytelling
Story is defined as a narrative account of an event may it be real or imaginary by
the Merriam-Webster Dictionary. And Storytelling as defined by the National Storytelling
Network is the interactive art of using words and actions to reveal the elements and images
of a story while encouraging the listener‟s imagination.
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The National Storytelling Network also added five characteristics of storytelling
which are as follows: 1) it is interactive, 2) it uses words, 3) it uses actions such as
vocalization, physical movement and/or gesture, 4) it presents a story and 5) it encourages
the active imagination of the listeners.
Story Telling as an Oral Tradition
Culture is linked with development or improvement by training or education which
is transmitted orally from generation to generation said Dumanghi (1995). She also added
that as people have self-retrospective with regard to their cultural practices, beliefs and
rituals, they come to realize what are worth perpetuating. Oral tradition is one of the
cultural practices common to Indigenous People Communities because it is the primary
medium used to pass on history and culture among communities. This was elaborated by
Vansina (1985) on his book Oral Tradition. According to Vansina (1985), these oral
traditions may in the form of songs, chants, ballad, and folk stories.
The primary oral tradition or primary orality is not easy to conceive of accurately
and meaningfully said Ong (2001) because of its nature of being transmitted orally from
generations to generations. This form of communication is very effective on communities
who are illiterate or doesn’t know how to read and write.
On the other hand, storytelling is one of the vital folk media used in Indigenous
Communities. Stories that originated from their own communities are told to the younger
generations to impart moral lessons, history, or even traditions and culture of the
community.
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Indigenous People’s Community
An Indigenous People’s community is not just a political, economic, and social unit
the way a barangay is; an IP community is first and foremost a cultural entity and this entity
has its political, social, economic, and informational dynamics, and is, therefore, a living
entity in itself. This living entity’s general label is what the English language calls „tribe‟
emphasized Victor (2007).
It only means that Indigenous people are those people who belong to a tribe and
they have their own cultural entity. They have their way of living which is unique from
others.
Folk Media’s Role in Development
Folk media, according to Pawar and Patil (1994), may be through songs,
simulation, skit, story, symbols, shadow play, street play, puppetry, ballad, mini drama or
anything that serves the purpose of communication to inform, educate, motivate, organize
and mobilize people. It is a medium that can overcome the difficulty of language, speech,
words and other barriers of communication like, interest, understanding, interpretation,
attitude and perception said Prasad, et al. (2010). With this, folk media should not be
disregarded in terms of development issues.
Historically, the folk media have often a role in the communication and promotion
of new ideas and the adjustment to a new social or political order, apart from its traditional
role of preserving and teaching established values said Kamat (2010). These are just some
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of the roles of folk media in development thus making it the most important vehicle of
social change added Prasad, et al. (2010).
Process Documentation
Process documentation (PD) is not new in research. According to Tirol (2002) PD
is a factual recording of events occurring in a project or program or in a company. Malicsi
as cited by Tirol (2002) further explains “the philosophy behind PD lies in describing
processes and events in order to come up with a systematic view of field experience”. Thus,
PD is the unfolding of certain processes, it lets the people feel the things that happened and
know why it happened elaborated Tirol (2002).
Also, there are four major purposes of PD listed by Torres (1996) as cited by Tirol
(2002) which are the flowing: a) to provide data on a chain of events that help explain the
occurrence of phenomenon; b) to assess group dynamics and depict pattern of behavior
that help explain why people behave the way they do; c) to identify key personalities or
characteristics involved in decision-making in a group; and d) to serve as a pool of data for
drawing out lessons learned (what worked, what did not, why) and for strategizing.
Challenges that Face Cultural Beliefs, Rituals, and Practices
Culture is linked with development or improvement by training or education which
is transmitted orally from generation to generation said Dumanghi (1995). She also added
that as people have self-retrospective with regard to their cultural practices, beliefs and
rituals, they come to realize what are worth perpetuating.
This was also supported in a seminal paper released by ECIP about indigenous
peoples‟ education that was cited by Listino on her article that was published in the Itogon
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Times, it states that IP elders in the country assert that tribal and community life can only
continue if their youth are rooted in their culture, IKSPs and the ancestral domain, grow
up with a clear sense of identity, are committed to meeting the challenges and issues that
face the tribe, can assert their self-determination, and are conscious of being inheritors of
a heritage and their elders for the coming generations.
Operational Definition of Terms
BSU. Stands for the Benguet State University.
Community folk. The participants of the STC from the community.
Core team. The facilitators during the Pilot campaign at Itogon.
DCS. It stands for the Development Communication Society.
Kabayan caravan. The STC implementation at Gusaran, Kabayan.
Pilot campaign. The STC implementation at Domolpos and Lusod, Itogon.
Sablan caravan. The STC implementation at Bagong, Sablan.
STC team. The primary movers which includes the actors, script writers, props makers, and
performance director of the STC who are from the DCS.
Story Telling Caravan (STC). Name of the primary project of the Development
Communication Society (DCS) at Benguet State University.
Target area. Place of implementation.
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METHODOLOGY
Locale and Time of the Study
The study was mainly conducted in La Trinidad, Benguet. Benguet is known as one
of the provinces in the Cordillera Administrative Region which lies on the southern portion
of the old Mountain Provinces. It is bounded on the north by Mountain Province, on the
west by Ilocos Sur and La Union, on the east by Ifugao and Nueva Vizcaya and on the
south by Pangasinan.
La Trinidad on the other hand, is a 1st class municipality in the province ofBenguet.
it is the capital municipality of Benguet and is famously known as the“Strawberry Fields
of the Philippines”.The municipality is located 3 km north of Baguio City and is 256 km
north of Manila. It is bounded on the north by the municipality of Tublay, on the south by
Baguio, and on the west by Sablan and Tuba. It has a total land area of about 8273.80
hectares, representing 3.16% of the provincial land area. The terrain is generally
mountainous with springs, rivers and creeks. Its floor elevation is at 1300 meters above sea
level.
Other areas where the study was conducted include Kabayan and Sablan, Benguet.
These two municipalities of Benguet are where the two campaigns were conducted.
Kabayan is an Ibaloi community that shares boundaries with the municipality of Buguias
on the north, Bokod on the south, Atok on the west and Tinoc, Ifugao and Kayapa, Nueva
Vizcaya in the eastern. The second highest mountain in the Philippines, Mt. Pulag is found
in this municipality. The lowest elevation is 1,000 meters above sea level while the highest
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elevation is at 2,922 meters above sea level. The municipality's terrain is generally steep
to very steep slopes with few rolling foothills and mountain plateaus.
According to the 2000 census, it has a population of 12,344 people in 2,063
households. Ibalois, Kalanguyas and Kakanaeys populate the town of Kabayan. Each of
these tribes has its own beginning. The Ibalois are majority tribe who trace their origin to
a settlement in Kabayan known as Embosi. Hence, Kabayan is known as the seat of the
Ibaloi culture. Sablan, which is found to be surrounded by the municipality of Burgos, La
Union and municipality of Kapangan, Benguet, on the east by the municipalities of La
Trinidad and Tublay, on the south by the city of Baguio and the municipality of Tuba on
the west. The name "Sablan" got its name from a tree called "SABDANG" that grew
abundantly along and around the Sablan River which was found by early settlers who
migrated to the place. The Sabdang tree blooms with its beautiful red bright colored flowers
during the summer season. The tree grows up to fifty feet tall with many branches. During
the Month of February, it bears fiery red flowers, buds open and the leaves start to fall.
When the trees are in full bloom, it appears as though it has no leaves but all flowers which
make it even more distinctively beautiful among all trees.
There are no original settlers in this municipality besides the immigrants from
Bantay Dose (now called San Pascual in Tuba, Benguet) Kabayan, Bokod, La
Trinidad,Atok, and other neighboring towns, mostly Ibalois. Only in the latter part of
1970's that Ilocanos and other lowlanders migrated to Sablan. Sablan is politically
subdivided into 8 barangays that can be reached through the national road which connects
it to the Province of La Union and Benguet and the City of Baguio making it accessible to
all kinds of vehicle. Except for the two barangays of Bagong and Balluay, it is accessible
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only by foot. Though, at present the farm-to-market road was already constructed with only
one PUJ a day that goes back and forth at Baguio City then goes back at Bagong dropping
first at Balluay.
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Figure 2. Map of Benguet showing list of stories found in each municipality and at the
same time shows the locale of the study
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Respondents of the Study
The respondents of the study were divided into three groups. They were the
community people of Gusaran, Kabayan and Bagong, Sablan who attended the STC, the
STC Team, and the key informants which include the Project partners and the DCS
Adviser. There were a total of 50 respondents from the two communities where STC was
implemented last February 2013. Twenty of them were youth, seven were adult, and three
belonged to the elders. The 30 respondents from the two communities were randomly
selected.
On the other hand, there were 20 STC Team members who were subjected into
series of Focused Group Discussion (FGD).
Data Collection
Because the project involved the community and the project implementers, the
researcher needed to be present in all the activities of the organization. Guide questions
were also used as gathering instruments for the community regarding objectives number 1,
3, 4 and 7. Guide questions were also used by the researcher and were asked using the
Ilocano and Ibaloi language, depending on their preference.
The STC Team was subjected to FGD to gather data for the remaining objectives.
The researcher also directly observed the implementation and other processes. Photo and
video taking was done as part of the documentation process. Secondary documents such as
the society‟s Minutes of Meetings, and press releases were used as reference of the
researcher regarding other information.
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Furthermore, key informants such as the DCS adviser Christine Grace Sidchogan,
the department Extension Coordinator Igrelyn Pinos-an, and project partners from the
SDS multimedia and the ResearchMate, Inc.
Data Gathered
The data that were gathered include the socio-demographic profile of the
respondents, the processes involved in the planning, implementation and evaluation of the
story telling caravan, the perceived importance of the story telling by the respondents, how
the project is being sustained, and the problems encountered in the planning and
implementation of the STC.
Data Analysis
For the socio-demographic profile data, the researcher tabulated and interpreted the
data descriptively. Data from the interviews and FGDs were recorded, analyzed and
discussed narratively by the researcher.
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RESULTS AND DISCUSSION
Socio-Demographic Profile of the Respondents
Table 1 shows the socio-demographic profile of the community people
respondents. It can be noted in the figure the dominant number of female (20) as compared
to the males with a frequency of 10. This is due to the participation of the female during
the implementation as observed by the researcher. During the implementation, it was
observed that the female participants including the elders were positioned in front while
most of the males were found at the back. Also, during the data gathering for the Sablan
Caravan, females were mostly the ones left at home; thus, they were the ones interviewed
by the researcher.
Age of the respondents. In terms of age, 20 of the respondents were aged 5-20, five were
from age bracket 21-35, and two of them were from 51-65 years old. There were three who
belonged to age bracket 66-80.
The high percentage of youth respondents in the study can be observed. The data gathering
for most of the respondents were made strategically to avoid some hesitations from the
elders whenever they see papers and pen during interview. In these cases, interviews were
voice recorded with their consent.
Occupation of the respondents. Twenty of the respondents were still high school and
elementary students. One of the teaching staff of the school was also a respondent.
Ten of the respondents were farmers.
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Ethnic affiliation of the respondents. All of the 30 respondents trace their identity to the
Ibaloi tribe. Though, some of them were just married to residents of the place, they still
came from Ibaloi communities nearby.
Language spoken. Language spoken here refers to the languages they are fluent to use in
communicating with others. All of the 30 respondents were Ibaloi speakers; however, they
can also fluently speak Ilocano. Also, 24 of them can understand and speak a bit of Filipino
(Tagalog).
Table 1. Profile of the community folks respondents
SEX
FREQUENCY
(n=30)
Male Female
10
20
AGE
5 to 20
20
21 to 35
5
36 to 50
1
51 to 65
2
66 to 80
3
OCCUPATION
Farming
10 1
Teaching
20
Students
ETHNIC AFFILIATION
Ibaloi
31
DIALECT SPOKEN
Ibaloi
31
Ilocano
31
Filipino
24
*Dialect Spoken- Multiple response
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Table 2 shows the socio-demographic profile of the STC team respondents.
Sex. As shown in the table, there were more females (15) than males (5). This can be due
to the higher number of females enrolled in the BSDC program.
Age of the STC team respondents. The STC Team is composed of screened
Bachelor of Science in Development Communication students of Benguet State University
who were considered as the core team. Eighteen of the respondents were 16 – 20 years old.
Year levels of the STC team respondents. Majority of the STC team were from the 3rd year
level since they were the first group who were involved in the project. This was followed
by the 2nd years with frequency of six. There were also three 1st year students and a senior
student.
Positions of the STC team respondents. The STC team was divided into two: the cast, and
the crew. There were more cast which is composed of 14 facilitators, and four musical
players. Meanwhile, the crew is composed of five props maker, five script writers, two
performance crews, two performance directors and four project coordinators. Ethnic
affiliation of the STC team respondents. As shown in Table 2, Kankana-ey was dominant
in terms of number than the others. There were two Aplai with only one pure Ibaloi and
the others were mixed. There were two mixed Ibaloi and Kankana-ey, two mixed Ilocano
and Kankana-ey and four Bisaya and Pangasinense but lives and grew here at the
Cordillera. School may be the midpoint of individuals with different ethnic origins. But
BSU is located in Benguet, thus, most of the students originated from the same area or
from nearby places.
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Dialect spoken by the STC team respondents. The ethnic affiliation of the respondents is
one of the factors that affect the dialect they spoke. All of the respondents understand and
speak Ilocano especially the highland Ilocano. Nine of them were fluent or knew a bit of
Kankana-ey. There were also four Ibaloi speakers, two Bisaya speakers and Pangasinense
speakers. The later respondents were challenged to learn kankana-ey and Ibaloi languages
because it is one of the prerequisites in the project.
Table 2. Socio-demographic profile of the STC team respondents
SEX FREQUENCY
(N=20)
Male Female
5
15
AGE
16 to 20
18
21 to 25
1
26 to 30
1
YEAR LEVEL
4th Year
1
3rd Year
10
2nd Year
6
1st Year
3
POSITION IN THE TEAM
Facilitator
14
Script Writer
5
Props Maker
5
Performance Director
1
Performance crew
10
ETHNIC AFFILIATION
Aplai
2
Ibaloi
1
Ilocano-Kankana-ey
2
Kankana-ey
9
Kankana-ay-Ibaloi
2
Others
4
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Table 2. Continued…
DIALECT SPOKEN
Bisaya
2
Ibaloi
4
Ilocano
20
Kankana-ey
9
Pangasinense
1
Processes Involved in the Planning of the Story Telling Caravan
Figure 3 shows the processes involved in the planning of the Story Telling Caravan.
Conceptualization. The Story Telling Caravan originated from the recently concluded
project of the DCS, the Stories of Alapu (SoA), which is an Information Education
Communication (IEC) Campaign of the organization to school children. This was then
adopted by the Department of Development Communication as one of its extension
projects.
According to Christine Grace Sidchogan, the DCS adviser during the conduct of the study,
the STC is an expansion of the SoA Project; thus, the formal turnover of SoA- Benguet
Editioncopies to the DepEd - Benguet Division in March 2012. After the turnover, they
came up into a realization that giving the SoA copies to the DepEd will just benefit the
school children. This left the group with the question, “How about the community?”
Through a triangular conceptualization, DCS alumni in person of Betty C. Listino,
Christine Grace B. Sidchogan, and Filmore Y. Awas, who were the key persons in the
development of the STC project came up with an exploratory idea such as the framework
of the STC.
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The DCS alumni were able to grasp the idea through series of discussion with Lourie
Victor, a technical representative of DepEd-Prime at that time and whose involvement in
indigenous education is visible. That was also the time that the BSUDepartment of
Development Communication was working closely with the Department of Education
regarding the turnover of the SoA copies to them. It was also through Ms. Victor that the
concept and importance of orality was emphasized to the group. With this, series of
workshop was conducted with the core team for them fully understand the power of orality
and how to use this for effective campaigns.
In February 2012, a turn-over ceremony of the SoA-Benguet Edition was conducted by the
Department of Development Communication and DCS alumni in Itogon, Benguet. This
activity was part of the extension program of the DDC. Since it was an extension program
of the DDC, this was attended by Anna Liza B. Wakat (Department Chairman that time),
Filmore Awas (DCS Adviser that time), Betty C. Listino (SoA-Benguet project leader),
Christine Grace B. Sidchogan (DDC research coordinator), and Igrelyn Pinos-an (DDC
extension coordinator). There were 10 books of the SoA-Benguet Edition given and
received by the Municipality through its Mayor. Through this turn-over, the plan to have
the storytelling was finalized with the local government unit of Itogon. Necessary
arrangements with regard to date, venue, counterpart (assistance), food, and transportation
were discussed.
Creation of storytelling team. A core group of storytellers (actors and actresses) was
organized before the slated event which was February 23-24, 2012. The DCS alumni and
the Itogon LGU became the recent partner of this endeavor.
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Because there were only few DCS members who showed interest, some faculty members
of the DDC asked their students who were willing to be involved to join the activity. To
complete the team, the faculty members of the DDC required some of their 2nd year Edcom
majors for the academic year 2011-2012 to be the active members of the team. They were
first oriented about the SoA as they were required to be involved in the project.
The 2nd year Edcom majors were divided into four groups: two groups were assigned for
the script writing and the other two groups were assigned for the props development of the
two stories that were decided to be presented.
Since the 2nd year Edcom majors were taking up their script writing for communication
media, they were assigned to prepare the scripts for the play. The script writers drafted the
script in English then later on translated in Ibaloi by Rey Daoal, an Ibaloi from Kabayan,
Benguet. Insertion of the pnemonics followed next.
The project also was an avenue for the students to apply what they have learned in their
course DEVC 141 (Visual Design and Techniques). On the part of the props developers,
they based the props that should be done on the scripts made by the two groups of script
writers to be able to identify the materials to be used.
Rehearsals were done a week before the pilot campaign according to the core team. Their
capability buildings were basically from their inputs from their Devcom courses, as attested
by their instructors.
They were also guided and facilitated by Joefrence Yangyang, a BSDC student, who had
an experience in theatre or stage plays. According to the core team, they cried, crawled,
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rolled and went up and down an imaginary high mountain at the CA lawn during their
rehearsals.
It can be noted then that the creation of the storytelling team was a result of continuous
collaboration of the people involved in the project.
SOA Implementation. The DDC and the DCS went to Domolpos and Lusod, Tinongdan,
Itogon, Benguet on February 23-24, 2012 the turnover of books and at the same time to
present the prepared play as part of exploring the orality through the use of folk media.
The “Tiktik and the Apesang Rock” and the “Aki and the Maja” were presented during the
event. According to the STC respondents, the team was able to complete the continuation
of the story of the „maja‟ (chant) from Lakay Coditiw. It can be noted that there was a
missing part in the chant published in SoA-Benguet Edition since it just mentioned a part
of the chant which states “Kimukuyari- e patay mo!” (You‟re not moving because you‟re
dead!). But the continuation of the chant was not included in the study because it was
considered as sacred by the Iowak Tribe.
It was just later on that the team realized that what they did at Domolpos and
Lusod, Tinongdan, Itogon could be another project as mentioned earlier in the discussion.
Creation of the STC Team. After the success of the first storytelling activity (pilot
campaign) in Itogon, a series of consultation with DDC and with the DCS alumni
representatives was conducted. After such consultations, the DCS decided to create a team
that would focus on the Storytelling Caravan.
In June 2012, right after the election of new sets of DCS officers, Mr. Joefrence Yangyang,
the newly elected president, initiated the opening of members to finally create the STC
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team. Application was opened to interested DCS. According to one member of the team,
there were many of them who applied; however, they were screened according to their
acting skills and dedication. They were trimmed down to 15 that completed the STC Team.
The screening was done by the core team. Their basis for selecting the 15 STC members
include the fluency of the applicant in speaking the language needed in the stories (Ibaloi
or Kankana-ey), willingness to commit their time, and their interest to sustain the project.
Capability building. During an interview with Igrelyn Pinos-an, the DDC extension
coordinator, she said that the DDC provided capability buildings to the students who are
also logically DCS members. Capability were integrated in their academic activities or
were organized separately for the team. It can be said that the STC is implemented as an
application of what the BSDC students learned from their Devcom subjects.
On the other hand, there was a weeklong capability building that was organized for the
STC team. Three days was allotted for the workshops on Understanding Folktales and an
Introduction of the Storytelling by Betty Listino. This supported the statement of Pinos-an
that capability building activities were organized separately for the team.
Based on observation by the researcher, there were only few participants during the first
workshop. There was also an inconsistency in the number of participants per day.
One of the factors, according to interview with the respondents, is the conflicting interest
of the team members during the workshop since the capability building was conducted
during the week of CA Sportsfest.
The last day was an acting workshop with Salaco Pampaniko, a known local theater actor.
The researcher observed that there was more number of the participants during the last day
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of the capability building. According to Salaco, a day of acting workshop is not really
enough to completely equip the team; thus, he recommended for a continuous acting
training for the team.
Storytelling Caravan planning. Planning stage started after the creation of the
STC team and capability building.
For the first STC, the team planned to visit Kabayan and Bokod for it to be called a caravan.
This plan was based on the prioritization list that the team came up with during a
consultation with the DCS alumni representatives and project partners. According to this
project partner (whose name is requested to be withheld), the month of October is the best
time to visit Kabayan because of the good weather. Also, the interest of the team to climb
the Mt. Pulag adds to the decision of the team to implement in Kabayan particularly at
Barangay Lusod where the keepers of Mount Pulag reside.
There were noted changes in the STC-Kabayan implementation, however. Since there were
overlapping university and college activities and the Ten Accomplished Youth
organization competition was on-going (which the DCS was nominated to join with the
STC as the project entry), the implementation was moved to later schedule and to nearer
location. Barangay Gusaran, the location of the Apesang Rock, was finally chosen.
Choosing the target area. The choosing of target area, according to Betty Listino, was
based on the places where these stories were gathered. Easier access and networking was
also considered. In the case of Itogon, aside from having stories from the place, the
Municipality, through its Mayor during that time, was very much willing to accommodate
and assist the program; thus, the smooth coordination. But their primary reason for
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implementing SoA at Itogon is the extinction of the Iowak tribe and at the same time to re-
validate the story of the “Aki and the Maja” from Lakay Coditiw, who was an elder of
the tribe.
Coordination for the Kabayan Caravan. In Kabayan, coordination was done by meeting
the municipal mayor for his approval to implement STC at Kabayan. Though the mayor
responded positively on the implementation, he mentioned that the transportation should
be the group‟s counterpart and the accommodation for the STC team will be provided by
the barangay LGU. Coordination with the barangay captain of Gusaran was also
conducted.
The team was able to coordinate with Kenneth Kelcho, municipal staff from Kabayan, as
referred by a DDC faculty member. A meeting was set with Mr. Kelcho regarding the
accommodation while the STC Team was having their continuous rehearsals. Kelcho,
based on interview, was able to see and appreciate the portrayals and warmly welcomed
the STC team in Kabayan. But because he was not exactly from barangay Gusaran, the
DCS adviser decided to send a letter addressed to the barangay captain of Gusaran.
Choosing stories to be portrayed for the Kabayan Caravan. The number one
criterion for the selection of stories to be presented is its origin. The stories from the target
area should be the ones to be portrayed. Thus, in the case of Itogon, aside from the “Aki
and the Maja”, another story was portrayed. According to the researcher‟s interview with
Christine Grace Sidchogan, they did not stick to the rule that the stories to be presented to
the target communities should be from there because the group may also portray other
stories from other municipalities as long as the language to be used is same language being
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used by the target community. Another alumnus added that what the storytelling aim is to
portray important values that may also be contributory to any community so any stories
may be presented in any areas so long as done in proper context and language.
In addition, according to the Key informants, the stories portrayed in the target
communities also depend on the occasion, the audience, and on what the storyteller wants
to instill to the audience. These things were carefully being noted by the core team before
the presentation. According to one member of the team, they have to mingle with some
members of the community a day before the play including the identified storyteller in the
community to determine the values that he/she wants to instill to the viewers. This is also
one form of validating the story that they will be portraying to the community.
Because the team was bound with the principle that stories to be portrayed should
be based on the origin of the stories, they chose between the stories of “Inculoh”, “Lalep
Ngapoh”, “Tiktik and the Apesang Rock” and “Baglao and the Balat-ek” which were
stories from Kabayan. They finally chose “Tiktik and the Apesang Rock”, a story from
barangay Gusaran, and the story of the “Inculoh”. These stories were also selected based
on the available facilitators who were willing to join the Caravan.
Tasking. Tasking was done through a meeting (refer to Appendix H). The STC
team assigned each active members task. The script made by the assigned script writer for
Ibaloi stories were reviewed and revised by another Ibaloi speaker who is a member of the
STC team.
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Designation of character was done based on how a member can properly portray such
character in the story. Necessary documents (permits, sponsorship forms, and letters to the
community) were also assigned to other members of the team.
Script writing for the Kabayan caravan. After the weeklong capability building,
there were assigned script writers for the team specifically for Ibaloi and Kankana-ey
stories. Improvement of the scripts for the convenience of the facilitators and
contextualization purposes was done simultaneously with the rehearsals. Most of the
facilitators were not Ibaloi speakers. The script writers needed to adjust and simplify the
script and even translated the script to Ilocano at first then to Ibaloi for the facilitators to
understand the things that the actors and actresses were delivering.
Props development for the Kabayan caravan. There were assigned people to
concentrate on the props development. However, problems were encountered due to
unavailability of other members to prepare such according to the respondents, this was due
to conflicting class schedules and school activities. The scenario then was whoever was
free should work on. Other DCS members who were not members of the STC were also
asked to help and assist in preparing the props.
Rehearsals for the Kabayan caravan. The rehearsal started two weeks before the
implementation and there were adjustments made on the script and the whole performance
including the facilitators acting.
Since it was the first time for the newly organized STC Team to really perform in
front of a community, their training was focused on internalizing on their characters and
the way they deliver their words.
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The core team acted as coach, facilitators and co-directors based on their experience
during the pilot campaign. Kier Daring, one of the core team and facilitator, was also forced
to join the cast because of his edge and skill in acting which he gained from the pilot
campaign. Through him, the actors were able to learn basic acting strategies that they may
apply in the portrayals, as one respondent noted.
The performance director also adjusted because she was new to the project and she
did not know her roles as director. She also indicated on her journal that she was thankful
to Joefrence Yangyang for assisting her and to other members who assisted her during the
rehearsals.
Sablan Caravan Planning. The STC-Sablan was conducted side-by-side with the
DCS Loving Out Loud (LOL) project where used clothes, footwear, and bags were
collected for the intended beneficiaries in Yabyabuan, Bagong, Sablan, Benguet
Coordination for the Sablan Caravan. Coordination was made by Marie Fe Wance,
a senior student of the organization who was conducting her study at barangay Bagong in
Sablan. She was able to coordinate the project with the barangay captain and the
accommodation of the STC Team to the head teacher of the school.
Also, the organization coordinated with the Municipality of Sablan with a sack of
rice as the municipality‟s counterpart for the STC implementation.
Choosing the stories to be portrayed for the Sablan Caravan. “Woman with
Pakgong” and the “Hunter‟s Wife” were the stories gathered from Sablan; thus, the chosen
story to be portrayed. But because the target area for the LOL was in another sitio of the
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same barangay, they thought of “Tiktik and the Apesang Rock” as an intermission for the
LOL program. The usual planning stage stated in the previous discussions was observed.
Script writing for the Sablan caravan. The script was rushed for the facilitators to use
during the rehearsals. And this time, the script was written in Ilocano first then was
translated to Ibaoi by an Ibaloi member of the team.
Props development for the Sablan Caravan. There were not much props needed in the
Sablan Caravan aside from the headdress for the dog, and the „pakgong‟, a musical
instrument made of bamboo. Thus, the STC team decided to buy additional musical
instruments since they do not have much time to prepare for one. These instruments bought
were also planned to be used in the future caravans.
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Figure 3. Shows the processes involved in the planning of the STC
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Processes Involved in the Implementation of the STC
STC Implementation Framework. Figure 4 shows the framework created by the
STC team for the implementation of the project.
The stories from the target community were portrayed by the STC Team. The portrayal is
facilitative in nature that while the stories were portrayed, the audiences are being asked
questions or asked to repeat important elements of the story, some will be asked to act.
Thus, after the portrayal, the stage is given to the community for them to tell more stories.
STC-Kabayan. The Kabayan Caravan was implemented on February 16 – 17, 2013 at
Gusaran, Kabayan, Benguet. After the courtesy call, the team first visited the legendary
Apesang Rock to be able to internalize deeper what they were going to present to the
community of Gusaran. On the other hand, the performance director together with the DCS
president and adviser were in-charge of the stage planning and initial discussion with the
local partners.
After the visit and initial planning, the acting team had their final rehearsal at the actual
venue.
During the performance, the “Tiktik and the Apesang Rock” animated version was first
viewed while waiting for the other community members who were invited to watch the
play. Invitation was done through personal visit of the team to different nearby houses to
advertise the show. Invitation of the local coordinator was also observed.
The program started formally with a prayer a community folk. The community folks
welcomed the STC Team with a song led by the elders of the community. An overview of
the project and the stories to be presented by the DCS president and DCS adviser,
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respectively were done to let the audience understand and have a glimpse of what the event
and what the project is all about.
The team first presented the “Tiktik and the Apesang Rock” where the audiences were
astonished by the entrance of “Kabang”, the biggest of the three birds. Also, the researcher
observed the DCS adviser as she coached the narrator to increase the volume of her voice.
There was also adlibs done during the portrayal like in the case where “Kabang” attempted
trice since “Seksek” almost forgot to laugh at her. It was just after the third attempt that
“Seksek” remembered to laugh aloud.
The portrayal of the first story was followed ahead by the question and answer portion
facilitated by an STC team who was an Ibaloi native using the Ibaloi language. Most of the
audiences that answered the questions were high school students because most of the
younger ones were observed to be shy to answer. One strategy that was observed by the
researcher from the facilitator was its ability to adjust on the situation. In times where the
audience or the kids for instance were shy, he went near the cluster of audience instead of
staying in front. This strategy, according to the team, would also depend on the dynamics
of the audience.
Another strategy used by the team to elicit participation from the crowd was through giving
prices. It was observed that the audience became more participatory when they found out
about the prices.
There were noted corrections from the audience based on the question and answer held
after the show. One was the term used in the story which is the „Inculoh‟ that was corrected
by one elder as „inculos‟. This was resolved within the discussion since it was based from
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the Kalanguya tribe. Another term corrected was the „kejang‟ which is supposed to be
„kayang‟. An STC member, who acted as „Maiketdo,‟ also mispronounced the term „afag‟
and said „avag‟, instead and was corrected by the
listeners.
By the audience correction, it was proven that they really were paying attention to the
presentation. This was also the basis of the researcher in determining whether or not the
crowd is listening attentively to the presentation.
During the portrayal, the performance director was still coaching the facilitators if where
should they go. Thus, the facilitators were able to contextualize their actions but the
researcher observed that they missed to emphasize some words that they might be
emphasizing because they were not really Ibaloi speakers. There were also some instances
where they deliver in monotone and their actions did not correlate with what they said
during the play.
After the presentation, the STC facilitator asked the crowd to retell the story to check
whether or not they understood the play. Lola Turin, an elder in the community, was able
to retell the story of the Inculos. She explained that „inculos‟ actually mean „to drain‟ and
the monsters found at the lake were huge alligators. Another story is how Gusaran got its
name, where three versions were created in the community according to her. She also retold
the story of the “Tiktik and the Apesang Rock” because according to her, the portrayal was
shortened. Thus, it was explained afterwards by Kenneth Kelcho that stories were really
like that. “It varies on the perspective of the people because other people may know other
version of the story you may know, the point there is the gist of the story is the same”.
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It can be observed that there was an active participation of the audience and the interaction
between the coordinator, implementors and community members as shown during the
question and answer portion where exchange of inputs and ideas were made.
The storytelling by the community was cut first for the turnover of SoA copies to the LGU
of Kabayan through Kenneth Kelcho and some youth who were involved in the dubbing
of the 2D animation of the “Tiktik and the Apesang Rock”. Also, a token of appreciation
was handed to the barangay LGU through the barangay captain and the kagawad present
during the activity. That led to another community singing by the community as a form of
thanksgiving to the STC Team. The STC Team in return sang
“We‟re here because you‟re here” as a response to their song.
Impressions from the community were also heard from Kenneth Kelcho and another from
other members of the community. This was followed by community eating together with
the STC Team while storytelling from the elders present was still going on. These were
attentively listened by the members of the STC team together with other children present
during the event.
STC-Sablan. The Sablan Caravan was a ride-on of the LOL project of the organization.
Thus, after the LOL project at sitio Yabyabuan in Bagong, Sablan, the STC at the central
part of the said barangay was conducted.
It was observed that the stage where the caravan will be conducted was set by the
community people together with the STC Team. At the same time, the STC Team prepared
for the portrayals while some of the community people started preparing the food.
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From the observations, it can be inferred that the STC created an avenue where the students
and the community folks can work together for one purpose.
The usual flow of the program was observed in Kabayan was also observed in
Sablan, Benguet.
The first story portrayed was the “Woman with Pakgong”. On the last part of the portrayal,
there were community kids who participated and tried to help the woman get out of the
stone that had engulfed her. This accidental participation of the audience was a surprise to
the team. This was fully appreciated by the STC team as they considered it as part of the
participatory approach that they want to happen in the STC project.
The story was followed by a question and answer portion that was facilitated by another
Ibaloi STC member. The kids were actively participating and answering the questions
being asked to them. One thing also the researcher observed was the sense of sharing
among the children. As they received their prices, they share it to others who were not
able to answer the questions.
The story of the “Hunter‟s Wife” was portrayed next. The story answers where the Libtong
Lake came from. And when the researcher was talking with the kids in front, they were
able to tell the researcher that they also knew three other versions of the story of the Libtong
Lake. They heard it from a certain elder from Libtong when they had their boy scout
camping in the vicinity of the lake. This indicates their knowledge on their folk stories.
This also implies that the children of Sablan are aware of their local stories.
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When the play was done, the stage was given to the elders of the community for their inputs
and retelling of the story among other stories that they want to share. There were two elders
who willingly shared and retold the versions of the stories they knew.
One of them was Lolo Pablo Laruan, known elder in the community. He re-told the story
of the “Hunter‟s Wife” which was actually the origin of the Libtong Lake found at
barangay Poblacion, Sablan. He also elaborated the story of the “Woman with Pakgong”
and claimed that the story tells about the etymology of the word „Bagong‟ from the Ibaloi
words „bakul‟ and „pakgong‟.
Also, Brgy. Captain Miguel Lauro told the story of “Petvak Petpetol” which was similar
to the story of the “Tiktik and the Apesang Rock”. The story started with two men who
went to the river to catch fish. One of the men went up to a big rock while the other is
below. Suddenly, the man on the rock disappeared and so the man below went up to look
for him. But he could not find him so he went home and told it to the villagers. So the
villagers decided to butcher and break the big rock but they were not able to do it.
One day a bird came, it was called „Petpetol‟ and when it alighted on the big rock the rock
was divided and it was later on called “Petvak Petpetol”.
The STC Team encouraged more community people to share stories but they were shy to
do so; thus, the portrayal was continued while waiting for the food to be prepared.
The STC Team decided to portray the “Tiktik and the Apesang Rock” in response to the
story told by the Brgy. Captain. The portrayal of the “Akie and the Maja” followed while
waiting for the food to be set.
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A community immersion initiated by the community was observed after the dinner with
the team. Continuous storytelling was also observed by the elders in the community
attentively listened to by both the STC team and te other community members left in the
venue.
It can be observed that strategies of implementation differ from one place to another. The
STC team was flexible in adjusting their style and strategy depending on the audience and
scenario.
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Figure 4. Shows the framework of the STC implementation
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Figure 5 . A sample photo of the portrayal of the Inculoh during the STC
implementation at Gusaran, Kabayan
F igure 6 . sample photo of the portrayal of the Hunter‟s Wife during the STC
implementation at Bagong, Sablan
Perceived Importance of the STC by the Respondents
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All of the respondents perceived that the storytelling caravan was good („mayat‟) for the
community. Specifically, some of the respondents also shared their perceived importance
of this activity in their life and in their community.
As noted by Teacher Ruth Polino, a substitute teacher at the school, she said that she was
able to realize that they should know the folk stories in their community so that they would
be able to tell it to their children and students, too. With this children would understand
more of their community instead of watching fairy tales such as Cinderella and the likes.
Knowing one‟s root determines ones identity. This was clearly noted by one of the
community folks who said in an interview that “one must have to know the stories of his/
her community to know where he/ she is rooted.”
In a seminal paper released by ECIP about indigenous peoples‟ education, it clearly
outlined that IP elders in the country assert that tribal and community life can only continue
if their youth are rooted in their culture, IKSPs and the ancestral domain, grow up with a
clear sense of identity, are committed to meeting the challenges and issues that face the
tribe, can assert their self-determination, and are conscious of being inheritors of a heritage
and their elders for the coming generations. This was further elaborated in an article by
Betty Listino published at Itogon Times.
Also, aside from the cultural integrity that one may learn from these folk stories, many of
the respondents noted the important values that may be learned from these stories. One
respondent said that these values would then become guiding principles to the youth in
making their decisions and responding to the challenges faced by the community. This was
supported by Kamat (2012) that says that the traditional role of stories are preserving and
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teaching established values and making it the most important vehicle of social change
added Prasad, et al. (2010).
Another respondent said that storytelling can become a good bonding experience between
the elders and the youth since they observed a mixed audience during the portrayals. Some
respondents also noted respect being gained by the elders through this kind of activity since
elders is always sought for stories and for the values that may be learned from these stories
that they are sharing. Another adult respondent noted that the simple gathering around a
bonfire creates an environment where wisdom and knowledge is passed from the stories
that are being told.
The existence of a bonfire, as one of the community folks at Bagong mentioned, was a
symbol for the „annak ti ili‟ (the children of the community). This was properly noted by
the STC team and considered bonfire to be present in all their caravans, as much as
possible. Also, the bonfire was in respect for the earth and the sustenance it provides as
believed by Michael Kelly (2013). He also added that bonfire mark the link between death
and life, sowing of seed and harvesting of crops, lighting and rekindling the flame, couples
and families come to the fire for a blessing and they wish each other a bountiful and healthy
year.
Mode of Evaluation by the STC Team
The scope of evaluation includes mainly the participation of the audience and their
understanding to the portrayed stories.
The evaluation by the STC team was done through question and answers every after
portrayal of stories. One of the STC Team was assigned to give questions about
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the portrayed story to the audience and the community will answer. Aside from the
questions asked, the audiences especially the youth were asked to retell the highlights of
the story. This was to asses if the audiences really listened and understood what have been
presented.
Also, according to the team, on the part of the elders and other community people, the
success of the project was assessed when there was continuous storytelling after the
portrayal of the stories by the STC Team.
Kabayan Caravan evaluation. During the Kabayan Caravan the students were shy but they
were still able to answer the questions because they were motivated with the prizes given.
The participation of elders was also appreciated by the STC Team because stories were
unending. The STC team noted that indeed, the community is rich with culture such as
beliefs, practices and including folk stories as highlighted in the stories that they were
sharing.
According to the researcher‟s interview with Mylene Primo, a high school student, she
said that they were able to hear stories from the elders of the community when there were
occasions in the community where they get to encounter their elders. She also added that
they were required by their teachers in other subjects to gather folk stories; thus, they were
able to have time to mingle with their lolos and lolas.
Sablan Caravan evaluation. The Sablan Caravan was mostly attended by elementary
pupils found within the proximity of the school. It can be noted through observation that
the students were so active and had grasped the stories easily.
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According to the researcher‟s interview to some of the community people, they would
prefer to say that they know little of the folk stories in their community for the kids to
approach the elders in the community. Lakay Pablo or lolo Lolong and other elders in the
community were the considered story holders in the community whom they were referring.
It can be noted here that the STC team used oral evaluation and observation
instead of written ones.
Figure 7. A sample photo of the mode of mode of evaluation during the STC
implementation
Values being Communicated in the STC
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The STC uses folk media by staging folk stories to facilitate oral tradition or storytelling
to be specific in the community. Hence, there are values learned in folk stories. As Kamat
(2012) emphasized, the traditional role of folk media is to preserve and teach values.
Table 3 shows the values being communicated in the project as perceived by the
respondents. The respondents were divided into two; the STC team and the community
folks.
Values Perceived by the STC Respondents. Values perceived by the STC
respondents were as well divided into two: the personal level and the organizational level.
On a personal level, the following values were perceived by the STC respondents from the
stories.
The acknowledgment of the creator. The existence of a creator is no doubt believed by
individuals but the acknowledgement that he is present and thus be respected was also
observed in the stories through the miracles and natural powers used by the characters of
the stories. The creator is usually portrayed in the plays as Kabunian.
Being charming. Charm, the ability to convince someone, is one of the assets of the society
to allure sponsors for the project. This may involve also communication skills for the
lobbying of the project to the prospect sponsors and the skills to communicate with the
community folks.
Cooperation and teamwork. Cooperation was defined as the common effort of a group to
achieve mutual benefit. This was shown on the props development and during the sourcing
out of sponsors and IGA (Income Generating Activities). Whoever was free was obliged
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to help the others. This was also strongly observed throughout the process of the
storytelling caravan, from the planning to implementation.
Discipline. Some STC members also mentioned that through the caravan, they were able
to discipline themselves in form of their time during rehearsals.
Friendship. Friendships were built among the STC team members despite their differences
in age and year levels. Thus, it leads to the realization that the gap between the year levels
was bridge through their involvement in the project.
Humility. Most of the STC mentioned this as they were always reminded of the story of
„Tiktik and the Apesang Rock‟. Others also mentioned that they were humbled by how the
community folks treated them and how the beneficiaries appreciated their
efforts.
Patience. This value was more learned or gained during the rehearsals where time and
schedules would always come in conflict. One of the Core team said that she really had to
add her patience for her to be able to understand the dynamics of her team mates.
Proper time management. According to one member, the ability to manage his or her time
wisely would be an asset for the team if they would consider. With the fact that they were
all students and the project should not be their focus they were able to identify this as a
value because doing such helped them minimize cramming.
Respect to the other culture. Since most of the team was composed of different culture, the
project was able to open the eyes of the non-Cordilleran blood. This was further attested
by Rejie Ann Supsupin, who presented the project in the TAYO search despite her being
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non-Cordilleran. She added that she come to understand and love the culture of the place
through this activity; thus, committing herself for the continuance of the project while she
still can.
There were also values perceived from the project which includes the following:
Being responsible. Being responsible is same as being accountable and trustworthy. The
STC team who were partly responsible needed the value to sustain the STC. A good
example of it was the core team being responsible to the new members. Another indication
of being responsible was by doing what was assigned to them to accomplish with no
complaints at all, as observed by the researcher.
Value of friendship. The „walang iwanan‟ adage became common to the team during the
entire process. Aside from being friends with the other members of the STC team the
members were able to make friends with other people from the communities during the
caravan visits. They were also able to meet friends from other places through the project‟s
networking and partners.
Value of listening. Understanding what you hear is listening. Thus this is important in the
project according to one respondent because she had a hard time being assertive to the
group because she does not know how to get angry. Also, some of the STC team members
learned to value it because the storytelling caravan really requires listening to show respect
to the elders.
Self-esteem. Regina, one of the core team, said during an interview that she was able to
boost her self-esteem when had joined the project. She was supported by the other STC
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Team because they said that through the project, they were able to act in front of many
people with pride and courage.
Value of knowing to act. According to some of the respondents they were not good in acting
before they joind the project. This became a challenge for them. But when they already
presented the stories they realized that if they would practice well during rehearsals, they
will be better performer and can even achieve more.
„Bayanihan‟. This was observed on both of the community the caravan visited. This was
observed when the barangay officials of Gusaran cooked for the community and the
community folks of Sablan who meet the team to carry the loads.
Learning to put yourself on the shoes of the community folks. The experience of community
immersion showed the team how to live, and hang with the community folks. Some of the
STC team had never experienced dwelling with other community folks aside from their
own community. But with this project, they said that they were able to experience mingling
with other people that gave them the opportunity to better understand their way of living.
‘Tangkilikin ang sariling atin’. „Atin‟ pertains to the folk stories they had in the
community. “We should know and share it” as one of the respondents said.
One respondent said that this is a value that says one should patronize their own stories in
the case of the project. The team also mentioned during the FGD that they should learn
more stories from the community aside from the stories they just watched on the television.
Values Perceived by the Community Folks. The community folks were subdivided into
three: the children, the adult, and the elder. The three groups perceived same values though.
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Humility and kindness. These were the values noted by the community folks in the story
of the „Tiktik and the Apesang Rock‟ and the „Hunter‟s Wife‟. One of the children
answered “haan nga agtangtangsit” (never be so mean or bad).
Value of not underestimating. Also, one of the adult from the community said that
“haan nga tagtagabasiten ti babasit” (don‟t underestimate the small ones). This was also
observed during the portrayal of the Tiktik and the Apesang Rock as most of the
respondents noted.
There were also perceived values from the stories according to the community folk
respondents such as the realization of the importance of the stories in communities. Since
stories portray values, the stories are important to the community. Thus, aside from values,
this could also serve as norms for other children according to one of the adult.
Another lesson was the importance of conserving folk stories. The community is rich with
folk stories that the elders were willing to share to the children to continue the passing on
of these folk stories.
Another respondent said that stories should be passed on. Folk stories should be learned
because of its importance said one of the elders during an interview. Because there will
come a time that they (elders) would be gone.
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Table 3. The values perceived in the STC as perceived by the respondents
STC TEAM
COMMUNITY FOLKS
Personal Level
Organizational Level Children
Adult
Elder
1. Perceived values in Acknowledgment of ‘bayanihan’
‘haan
nga ‘haan
nga Humility
the stories
agtangtangsit’
tagtagabasiten ti
the Creator Being Learning to ‘put Humility/ Kindness babasit’ Humility
Charming
yourself in their
(community folks)
Cooperation/
shoes’
Teamwork
‘tangkilikin
ang
Discipline
sariling atin’
Friendship
Humility
Patience
Proper
time
management
Respect to other’s
culture
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Table 3. Continued
2. Values learned
Being Responsible
Realization of the Stories should be
in the project
Friendship
importance of the passed on to the
youth
Listening
stories of ‘il-ili’
Realization that the The
community
Self-esteem
community is rich should know folk
with folk stories thus it stories because there
Value of knowing to
should be
are values in it
Act
learned for it to be
conserved
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Sustainability of the Project According to the STC Team
Generally, the sustainability of the project depends on the actions of the STC Team.
According to Christine Grace Sidchogan, the team should ideally continue seeking
sponsorships for the upcoming STC implementations. Thus, there should also be close
coordination or networking with the LGU of the target venue in advance to give time for
the LGU to prepare for the activity.
The STC was basically sustained by its members, thus, there was already established team
that would sustain the project, according to the respondents. Strong support from the DCS
and the DDC also made the project strong, some STC members noted.
Another respondent noted that in order to entice more members to join the STC, they
shared interesting stories during the implementation through facebook by creating a group
where they can share photos and insights. Also, the project briefer that was given to the
sponsors including posters that was made for the project helped in the sustainability of the
project, as said by many of the STC team, since their partners were sending their support
to the team trough financial assistance among others.
DDC faculty respondents also noted that since SoA is one of the extension programs of
the Department with STC as its allied project, it would be easier to mobilize students for
their participation as part of their practicum or field learning exposure.
Problems Encountered in the Planning and Implementation of the STC
In every project, there would always be problems that would arise that should serve as
challenges to the efficiency of the project according to one of the respondents.
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Hence, like any other projects, the STC was brought into concept because of the rise of
problems.
During the series of FGD’s to the STC Team and interviews to the DCS Adviser,
several problems during the planning and implementation were identified.
The problems were considered internal and external. The lists of problems were showed
in Table 4.
Internal Problems. Internal problems were the problems encountered by the STC
team.
Language as a barrier. There were only few of the STC team who were really fluent in
speaking Ibaloi and the past implementations were conducted on Ibaloi communities. That
was also the scenario of the script writers. Consistency of the script also bothered the team
because the script was many times revised for the convenience of the cast considering that
they are not Ibaloi speakers. According to the STC Team even when they were at Gusaran
already, the script was still being revised.
Despite the fact that most of the team was not able to understand Ibaloi they were not
forsaken by the Ibaloi members. The script was revised by the Ibaloi speakers who were
part of the team. They even indicated on the script the Ilocano version of the script for the
facilitators to understand what they were going to deliver. Also, the diction and some
pronunciation were corrected by the members themselves during the rehearsal.
Limited time. There was really not enough time for the preparation since the Kabayan
Caravan because of the overlapping activities of the society, according to the team. Also,
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some of their time during their rehearsal was wasted from waiting for the others, thus, it
resulted to overtime and re-scheduling of practices.
Late coordination. The coordination was also commented even by the barangay officials
of Gusaran. The case was the team acquired the mayor’s approval on a meeting at La
Trinidad, thus, on the part of the barangay LGU they were not aware because according to
one of them, the letter just arrived the day before the team arrived. Though the team already
had coordinated with one community member, still matters were not properly discussed
among the members of the LGU. Thus, it served as a lesson to the team that the
coordination should be earlier and should be done face to face, according to them.
Inconsistency of the script. There was also observed inconsistency in the script due to the
continuous changing nature of some of the scripts. This did not affect the implementation
though, as noted by the team. Also, the facilitators were really good in memorizing the
script that made the portrayals smooth, as they added.
There was sudden change on the characters. Due to conflicts of academic requirements
others were not able to attend the rehearsals and the caravan, this led to abrupt changes in
the characters of the stories. The team decided to replace those who may not join the
rehearsals for the sake of the project. The facilitators who were newly assigned were coping
easily, however.
Lack of attires, musical instruments and other props. Since the project just started, the team
was not totally equipped with props, attires and even musical instruments for the
background music. With this, the DCS decided to borrow the money from the TAYO
Awards to buy g-string, musical instruments out of bamboo, and headdress for the dog.
Facilitating Story Telling As A Medium Of Reviving Oral Tradition: The Case Of The
Benguet State University Development Communication Society Story Telling Caravan |
TAY-OG, KAREN B. APRIL 2013
Lack of documentation equipment. The team also was not really prepared when it comes
to heavy documentation since they do not have enough gadgets or equipment. This made
the team partner with the SDS multimedia, a multimedia group with enough documentation
equipment.
Not enough knowledge on stage presentation. Most of the new members of the team were
first timers on stage that made them at the beginning nervous or uneasy. But the core team
and other members were able to assist and guide them well, according to the team.
Undesirable attitudes among the members. Undesirable attitude were normal as long as it
can still be tolerated and controlled, this was according to one of the members. The only
solution for it is discipline, she noted.
External Problems. External problems were the problems observed among the community.
Some of these are the following:
Less participation from the children of Kabayan. Ibaloi were understandably shy but it was
not always the case. The children in Kabayan were at first afraid of the facilitators that
asked them questions but when they found out that there were prizes given they were
participate actively in the discussion. There were also more high school students than the
elementary pupils during the implementation at Kabayan.
Less participation from the elders of Sablan. There were only two from the community
folks who were able to tell stories. Thus, the STC Team presented other stories to entice
more story tellers.
Facilitating Story Telling As A Medium Of Reviving Oral Tradition: The Case Of The
Benguet State University Development Communication Society Story Telling Caravan |
TAY-OG, KAREN B. APRIL 2013
Other problems include late coordination, late arrival of other community folks and late
start of the program due to lack of time to prepare venues and among others.
Table 4. Shows the internal and external problems encountered in the STC planning and
implementation.
INTERNAL
ADJUSTMENTS/ SOLUTIONS
1. Language Barrier
-Those non-Ibaloi speakers asks the Ibaloi
speakers
2. Limited time for the preparations
-overtime
3. Late coordination
-triangulation (Sir Kenneth, Mayor, letter to
the barangay)
4. Inconsistency of the script
-the facilitators did their best to memorize
the updated scripts
5. There was a sudden change on the characters -the new facilitator/s cope up through the
practices
6. Lack of attires, musical instruments and -the team bought (g-string, musical bamboo
some props
instruments, headdress, and others)
7.
8. Lack of documentation equipment
-SDS multimedia was tapped
9. There is no standard program of the
-the emcee based the program on the past
activity
implementation with the guidance of the
DCS adviser and president
10. Not
enough
knowledge
-the Core Team assisted the newly members
in
stage presentations
11.Undesirable
attitudes
among -discipline
the members
EXTERNAL
Adjustments/ Solutions
1.
Less of participation from the -they were motivated when they knew about
children in Kabayan
the prizes
2.
Less of participation from the -only two of the elders told story
elders in Sablan
3.
Others
Late and not personal coordination
Late audience (Kabayan)
Late start of the program
Facilitating Story Telling As A Medium Of Reviving Oral Tradition: The Case Of The
Benguet State University Development Communication Society Story Telling Caravan |
TAY-OG, KAREN B. APRIL 2013
SUMMARY, CONCLUSIONS AND RECOMMENDATIONS
Summary
The study was conducted at Gusaran, Kabayan and Bagong, Sablan located at
Benguet province. It aimed to document the Story Telling Caravan Project of the
Development Communication Society-Benguet State University (DCS-BSU).
The study was conducted to specifically determine the socio-demographic profile
of the respondents; enumerate the processes involve in the planning of the Story Telling
Caravan; document how the story telling is implemented to the intended communities;
identify the perceived importance of the story telling by the respondents; discuss how the
Story Telling Caravan is evaluated; determine how the project is being sustained by its
members; determine the values being communicated in the Story Telling Caravan as
perceived by the respondents; and, determine the problems encountered in the planning
and implementation of the Story Telling Caravan.
There were a total of 50 respondents; 30 from the two communities and 20 STC
team members. The community folks were selected randomly and interviewed by the
researcher. The STC team on the other hand was subjected to a focused group discussion.
The STC project includes 3 stages the planning, implementation and evaluation. The
planning stage basically incudes the conceptualization, choosing of the target area,
coordinating with the LGU of the target area, choosing of the stories to be portrayed,
tasking, writing of scripts to be used in the portrayal of the stories, the development of the
props and the rehearsals.
Facilitating Story Telling As A Medium Of Reviving Oral Tradition: The Case Of The
Benguet State University Development Communication Society Story Telling Caravan |
TAY-OG, KAREN B. APRIL 2013
On the other hand, the implementation stage includes the courtesy call upon arrival at the
target area, preparing the venue, the formal program (opening prayer, opening remarks,
overview of the project), the portrayal of the stories and the evaluation every after story
portrayal, and the community storytelling.
The last part of the framework is the evaluation stage where the audiences were asked
questions regarding the stories portrayed. Aside from the questions and answers, some of
the audiences are ask to retell the stories to assist if they are really paying attention to the
portrayal. The evaluation stage also includes the response of the elders if were they enticed
to tell stories.
The STC was perceived by the respondents as important because of the values learned
within the stories and even in the project.
Conclusions
The following conclusions are drawn based on the findings:
1.
Overall, the objectives of the project were basically met from planning to
implementation;
2.
The socio-demographic profile affects the performance of the team especially their
ethnic affiliation and the dialect they spoke;
3.
Usual procedure of identifying the target audience and their profile is needed for
effective planning and implementation;
4.
The STC project has a unique framework that is convenient for the community
folks because of its participatory scheme;
Facilitating Story Telling As A Medium Of Reviving Oral Tradition: The Case Of The
Benguet State University Development Communication Society Story Telling Caravan |
TAY-OG, KAREN B. APRIL 2013
5.
Strong partnership and linkage is important for the success of any project or
program;
6.
There are values perceived in the STC not only in the stories being portrayed; and,
7.
Problems and issues in projects like the STC may arise from internal and/ or
external forms but can be managed through continuous reflection and continuous dialogue
between the implementors and beneficiaries.
Recommendations
Based on the findings and conclusions the following are recommended:
1.
The STC Team should continue personally coordinating with the municipal mayor,
barangay captain and other gatekeepers for smooth planning and implementation;
2.
As recommended by the DDC faculty, principles of community immersion should
also be imparted to the STC team since they are directly dealing with the community
through the project as part of their capability building;
3.
Based on the problems noted, the scripts that were already developed even after the
capability buildings should be improved and contextualized beforehand to minimize being
troubled with its revisions;
4.
Background and knowledge on cultural musical instruments should also be
observed by the STC Team for a better presentation, as recommended by the team
itself;
Facilitating Story Telling As A Medium Of Reviving Oral Tradition: The Case Of The
Benguet State University Development Communication Society Story Telling Caravan |
TAY-OG, KAREN B. APRIL 2013
5.
For effective and powerful storytelling, the STC Team may consider having
another session on acting and stage presentations for effective delivery and portrayal as
recommended by some community respondents and as observed by the researcher; and,
6.
The DCS may consider conducting a summer camp to train and equip the
STC Team on the upcoming caravans.
Facilitating Story Telling As A Medium Of Reviving Oral Tradition: The Case Of The
Benguet State University Development Communication Society Story Telling Caravan |
TAY-OG, KAREN B. APRIL 2013
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TAY-OG, KAREN B. APRIL 2013