Lualhati Bautista Essay

Dekada 70 is one of the best novel of Lualhati Bautista. one of the best author in the Philippines and besides an award winning author for her purposeful Hagiographas. that negotiations about non merely the life of people during the Marcos government but besides the function of each member in the household. We can state that this novel and the movie of Chito S. Rono tell us the narrative of this decennary in the 70?s in the signifier of facts. figures. opinionative articles. day of the months. and timelines. The way of manager Chito S. Rono has the household as a centre of the consequence of Martial Law. With a gifted dramatis personae of converting histrions and actresses. their place would go to the spectator a microcosm of the state as a whole. In fact it is in the place of the Bartolome household where most of the film really takes topographic point. And it is in this place viewing audiences are taken for a brief drive through this disruptive clip in Philippine history.

The married woman Amanda ( Vilma Santos ) and Julian ( Christopher Deleon ) belongs to a in-between category twosome with an ideological position. who must cover with raising their kids. five male childs – Jules ( Piolo Pascual ) . Isagani ( Carlos Agassi ) . Emmanuel ( Marvin Agustin ) . Jason ( Danilo Barrios ) and Bingo ( John Sace ) in a manner wherein passion. fright. unrest and societal pandemonium will be seen. To accept the differences of the sibling’s political orientations and positions will be the greatest mission of Julian. as a male parent faces the painful dissent of his kids. to Amanda. a mother’s love will turn out to be the most resonating in the flowering of this family’s narrative and to rouse her ain demands. as she embarks on a journey of find to recognize who she is as a married woman. a female parent. a adult female and a Filipino.

My reaction in this movie truly concerns about Amanda for she is the most laden and the most affected among all the characters in the movie. We can state that she’s domestic in nature because she’s merely remaining inside their places and taking attention of their kids. The most laden portion for her. I think. is when Julian’s friend visited them and all of a sudden when she try to reply or be portion of the conversation. as if. Julian’s friends were merely “napipilitan” to reply her or they are merely esteeming her as a married woman of Julian. As if she is merely another amah in their house. She isn’t entitled to her determination and if she will make something. she truly needs to confer with it foremost to her hubby. I noticed that about all of the determinations in their house were from her hubby.

We can state that the movie was from a feminist point of position or stand on what should be the function of the adult female in the house. in society and in the state. Why is her husband’s self-importance so high that if he would allow Amanda happen occupation. I’m certain that his self-importance will non diminish at any rate? I mean. he is so unjust. Why non give Amanda a opportunity ; nil will lose if he’ll Lashkar-e-Taiba Amanda make what she wanted. For Julian. being a male parent doesn’t mean that all the determinations in your household should come from you because you don’t ain all the things in this universe. You can’t make up one’s mind what’s best for everyone. And in conclusion. everyone should be given a opportunity to make what they wanted to make because things that will do you contented sometimes be searched.

To Lualhati Bautista and Chito S. Rono. I salute you. I believe in this quotation mark. “My female parent was the most beautiful adult female I of all time saw. All I am I owe to my female parent. I attribute my success in life to the moral. rational and physical instruction I received from her. ” by George Washington because all I am and all I have is hers. I hope all of us will value the full female parent in the universe and don’t forget that being work forces doesn’t average you’re the best and you should make up one’s mind for all because sometimes. adult females are much good at decision-making. We should accept that our determinations are non ever right and what we think is the best for everyone is bad for everybody. I think my recommendation here is that. all should be given their freedom to take their life and to populate with their chosen life because no 1 knows us better than ourselves.

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Lualhati Torres Bautista (born December 2, 1945) is one of the foremost Filipino female novelists in the history of contemporary Philippine literature. Her novels include Dekada '70, Bata, Bata, Pa'no Ka Ginawa?, and ‘GAPÔ.


Bautista was born in Tondo, Manila, Philippines on December 2, 1945 to Esteban Bautista and Gloria Torres. She graduated from Emilio Jacinto Elementary School in 1958, and from Torres High School in 1962. She was a journalism student at the Lyceum of the Philippines, but dropped out because she had always wanted to be a writer and schoolwork was taking too much time.[citation needed] Her first short story, "Katugon ng Damdamin",[1] was published in Liwayway Magazine and thus started her writing career.[2]

Despite a lack of formal training, Bautista as a writer became known for her honest realism, courageous exploration of Philippine women's issues, and compelling female protagonists who confront difficult situations at home and in the workplace with uncommon grit and strength.

Works as novelist[edit]

Bautista garnered several Palanca Awards (1980, 1983 and 1984) for her novels ‘GAPÔ, Dekada '70 and Bata, Bata… Pa’no Ka Ginawa?, which exposed injustices and chronicled women's activism during the Marcos era.

‘GAPÔ, the Palanca Awards 1980 grand prize winner, published in 1992, is the story of a man coming to grips with life as an Amerasian. It is a multi-layered scrutiny of the politics behind US bases in the Philippines, seen from the point of view of ordinary citizens living in Olongapo City.

Dekada '70 is the story of a family caught in the middle of the tumultuous decade of the 1970s. It details how a middle-class family struggled and faced the changes that empowered Filipinos to rise against the Marcos government. These events happened after the bombing of Plaza Miranda, the suspension of the writ of habeas corpus, the proclamation of martial law and the random arrests of political prisoners. The oppressive nature of the Marcos regime, which made the people become more radical, and the shaping of the decade were all witnessed by the female protagonist, Amanda Bartolome, the mother of five boys.

Bata, Bata… Pa'no Ka Ginawa?, literally, "Child, Child… How Were You Made?", narrates the life of Lea, a working mother and a social activist, who has two children. In the end, all three, and especially Lea, have to confront Philippine society’s view of single motherhood. The novel deals with the questions of how it is to be a mother, and how a mother executes this role through modern-day concepts of parenthood.

Bautista's 2013 book In Sisterhood received the Filipino Readers' Choice Award Nominee for Fiction in Filipino/Taglish in 2014, organized by the Filipino Book Bloggers Group.[3]

In 2015, Bautista launched the book Sixty in the City, about the life of friends Guia, Roda and Menang, who are in their mid-60s and realize that there's a good life in being just a wife, mother and homemaker.[4]

Short stories[edit]

Two of Bautista's short stories won the Palanca Awards, namely "Tatlong Kwento ng Buhay ni Juan Candelabra" (Three Stories in the Life of Juan Candelabra), first prize, 1982; and "Buwan, Buwan, Hulugan mo Ako ng Sundang" (Moon, Moon, Drop Me a dagger), third prize, 1983.

In 1991 Bautista with Cacho Publishing House, published a compilation of short stories entitled Buwan, Buwan, Hulugan Mo Ako ng Sundang: Dalawang Dekada ng Maiikling Kuwento.[5]

As screenwriter[edit]

Bautista's venture as a screenwriter produced several critically acclaimed works. Her first screenplay was Sakada (Seasonal Sugarcane Workers), 1976, which exposed the plight of Filipino peasants. Her second film was Kung Mahawi Man ang Ulap in 1984, which was nominated for awards in the Film Academy of the Philippines. Also written during the same year was Bulaklak ng City Jail, based on her novel about imprisoned women, which won almost all awards for that year from various awards guilds including Star Awards and Metro Manila Film Festival. In 1998 her work was used for Chito Rono's film adaptation of Bata Bata Paano Ka Ginawa, starring Vilma Santos. In 2000 she wrote Gusto Ko Nang Lumigaya, the screenplay for Maryo J Delos Reyes' political drama thriller.

Other honors[edit]

Bautista became a national fellow for fiction of the University of the Philippines Creative Writing Center in 1986. She also served as vice-president of the Screenwriters Guild of the Philippines and as chair of the Kapisanan ng mga Manunulat ng Nobelang Popular.

She was the only Filipino included in a book on foremost international women writers published in Japan in 1991.

Bautista was honored by the Ateneo Library of Women's Writings on March 10, 2004 during the 8th Annual Lecture on Vernacular Literature by Women. In 2005, the Feminist Centennial Film Festival presented her with a recognition award for her outstanding achievement in screenplay writing. In 2006, she was given the Diwata Award for best writer by the 16th International Women's Film Festival of the UP Film Center.[6][7]

Translations of her novels[edit]

Excerpts of Bautista's novels have been anthologized in Tulikärpänen, a book of short stories written by Filipino women published in Finland by The Finnish-Philippine Society (FPS), a non-governmental organization founded in 1988. Tulikärpänen was edited and translated by Riitta Vartti, et al. In Firefly: Writings by Various Authors, the English version of the Finnish collection, the excerpt from the Filipino novel Gapô was given the title "The Night in Olongapo", while the excerpt from Bata, Bata, Pa'no Ka Ginawa? was titled "Children's Party".[8][9][10][11]

A full translation of Bautista's best works could better represent the characteristics of Filipino writing in international publishing. Dekada '70 has been translated to the Japanese language and was published by Mekong Publishing House in the early 1990s. Tatlong Kuwento ng Buhay ni Julian Candelabra (1st prize, Palanca Memorial Awards for Literature, 1983) was translated in English and published by The Lifted Brow in Australia.[citation needed]




  • Sila At Ang Gabi: Isang Buong Laot at Kalahati ng Daigdig (1994) ISBN 9712703290
  • Ang Babae sa Basag na Salamin (1994) ISBN 9716850328
  • Araw ng mga PusoISBN 971685014X
  • Apat Na screenplay ISBN 9712704475
  • Ang Kabilang Panig ng Bakod
  • Hugot sa Sinapupunan
  • Desisyon
  • Sumakay tayo sa buwan


  • Sakada (co-writer)
  • Kung Mahawi Man ang Ulap
  • Bulaklak sa City Jail
  • Kadenang Bulaklak
  • The Maricris Sioson Story
  • Nena
  • Bata, Bata...Pa'no Ka Ginawa?: The Screenplay
  • Dekada '70
  • Gusto Ko Nang Lumigaya (screenplay)
  • Sex Object
  • Isang Kabanata sa Libro ng Buhay ni Leilani Cruzaldo (television drama)

Television scripts[edit]

  • Dear Teacher (co-writer)
  • Daga sa Timba ng Tubig
  • Mama
  • Pira-pirasong Pangarap
  • Desaparesidos (1998)


See also[edit]


External links[edit]

  1. ^Liwayway Magazine, November 17, 1963 issue
  2. ^Ong, ed. by Aihwa; Peletz, Michael G. (1995). Bewitching women, pious men : gender and body politics in Southeast Asia. Berkeley, Calif.: University of California Press. p. 217. ISBN 0520088611. Retrieved 8 October 2016. 
  3. ^Filipino Readers' Choice Award Winners, date retrieved: 5 July 2016
  4. ^Sixty in the City, Lualhati Bautista, date retrieved: 4 July 2016
  5. ^"Buwan, Buwan, Hulugan Mo Ako ng Sundang". Goodreads. Retrieved 8 October 2016. 
  6. ^Lualhati Bautista, Ateneo Library of Women's Writings, date retrieved: 27 May 2007
  7. ^Lualhati Torres Bautista: The Author,, date retrieved 27 May 2007]
  8. ^Firefly: Writings by Various Authors (Lualhati Bautista Translated into Finnish and English), Edited and Translated by Riitta Vartti, et al. Our Own Voice June 2001 (OOV Bookshelf 2001), date retrieved: 27 May 2007
  9. ^"Bata, Bata Pa'no Ka Ginawa? (Lea's Story): Title Page from". Archived from the original on October 27, 2009. Retrieved 2010-10-07. , date retrieved: 27 May 2007
  10. ^English Language Summary of Bata, Bata Pa'no Ka Ginawa? (Lea's Story) from, date retrieved: 27 May 2007
  11. ^Vartti, Riitta (editor). Preface to the Finnish anthology Tulikärpänen - filippiiniläisiä novelleja (Firefly - Filipino Short Stories), Kääntöpiiri: Helsinki, Finland 2001/2007, retrieved on: April 14, 2007
  12. ^"Metro Manila Film Festival:1984". IMDB. Retrieved 2014-04-09.
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