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Marketing Plan Product: Bubble bath Liquid Soap (Aloe Vera) Our product which is basically an innovative and improve liquid soap in a kind of foaming shower gel that gives us light and cool way in taking a bath. These nice means eliminate the difficulty in bubble the natural soap that we used at home. What we have to do is just push pump to spray foam onto hands or bath sponge and clean the whole body. With the refreshing effect of Aloe Vera we are cooling our body and feel relaxed after that. Now that we have this kind of product, we usually reduce the number of soap used because every single liquid in the bottle is applied. The commercial soap is too small for us to hold after several times and the effect is not like the first we used it, this make us design a product that will help each of us. Every customer is hoping to satisfy in using this product even for the first time because it’s not too difficult in handling. Price: We value our customers as we pursued to present a new product that definitely suitable and affordable. The bottle contains 150ml for P50.00 and the bigger bottle with 210ml which cost for only P92.00. It’s more recommended to buy the bigger bottle because the standard cost P3.00 per ml than the other one which only cost P2.28 per ml. With the unusual price of the soap we used at home this is a little bit higher of P20 to P50, but what is good with this product is that you can control the used and there’s no single drop would be wasted. Additional to that, when using this product the quality is similar for the first time you used it because it’s in the liquid form. Promotion: We have 3 plans for the promotion of the product: The first promotion for our product is using mini TV ads inside the supermarket near to the products. Second is giving brochures and leaflets with the details about our new products, how to used it, important information about Aloe Vera when used with the body, and the prices. Third, we would want to organize a mall tour with the selected shopping malls or center where there are prospective buyers with our product. We want to inform the public with our representative that we are launching an innovative creation of liquid soap, that’s why we want to send a person for them to know how important they are in every mall tour that we would organize. Place of Distribution: For us the best choose where we can put our product is in supermarkets together with our competitors. By that customers can personally evaluate and see to it the different with the usual soap that we used. We also want to put in a place like boutiques or shops where unique and kikay things are display. For example with the CINDERELLA shops. For our future plan after the evaluation maybe we can open now our own shop where other products are display. People: We value our customers’ satisfaction when they used our products. Our target market is those teens who always experiment a unique way to enjoy washing their body when taking a bath. Also, the kids that is older than 2 years old. In that age, they are so active in playing and a little hard for a parent to please a child to take a bath. Now, they can enjoy and play with the bubbles together they were clean. The product is not only for kids and teens but for older people also, they can buy it to relax with the cooling effect of the Aloe Vera after a long day of work. Objectives: Our company’s major objective is to be able to find and solve the market problems in terms of useful products that we created. Mission: We value a lot our supportive customers who always help us in achieving our aims. We believe that our job is to continue producing quality and effective means of hygiene to our entire loyal customer. We will pursue this duty as a part of our company’s existence in this industry as long as they want to have an excellent piece. Vision: Our vision is to maintain the company’s image in terms of giving customer satisfaction and loyalty. The hard work of our staffs, supervisors, managers and other higher officials will continue just to make a product that we can all be proud of. INDUSTRY ANALYSIS Our industry now a day is so competitive, it simply means that every company should enhance and set a change in the business world for us to be able to survive in this kind of environment. Here in the Philippines, the soap industry is very challenging. There’s always new product that came up just to give the customer a choice what their preference is. Also, because the demand is high the company should mind that quality is the most important for the customer to continue buy the product. The price should also be affordable for them to avail it. Positions: President: Glenda Esquidillo Vice President : Czamille Dela Cruz Marketing Manager: Lezzie Marie O. Bongue Finance Manager : Jennylyn Dela Cruz Sales Manager : Arson Balana Assistant Manager : Darwin Inay SWOT ANALYSIS Strengths Now a day, people are more conscious about the products they are using. We are in a world where people think different than yesterday. People are now experimenting products they buy when they’re not satisfied with the old one. People would enjoy taking a bath with this product because of a new way of using it. The company will not satisfy, if the customers want other way to use the product. We are competitive and not scared to present new products in the market. Weaknesses Not sure if the customer is willing to add a budget to buy the product. If the people are not willing to adopt the unusual procedures in using soap. If the company can stand on its own with this product. Opportunities It would later create other varieties of products that give choices to the customer. If we can get the pulse of the consumers we can earn higher in the unusual expected earnings. Maybe we can export the product to expand the business. Maybe we can branch out in other countries if the local market tells well about the product. We can compete in other big companies. We can steadily have a store for all of our products. Threats We are not sure if our competitors would reproduce the same products with different name.

my father goes to court

My Father Goes to Court

By Carlos Bulosan

November 13, 1943

When I was four, I lived with my mother and brothers and sisters in a small town on the island of Luzon. Father’s farm had been destroyed in 1918 by one of our sudden Philippine floods, so for several years afterward we all lived in the town, though he preffered living in the country. We had a next-door neighbor, a very rich man, whose sons and daughters seldom came out of the house. While we boys and girls played and sand in the sun, his children stayed inside and kept the windows closed. His house was so tall that his children could look in the windows of our house and watch us as we played, or slept, or ate, when there was any food in the house to eat.

Now, this rich man’s servants were always frying and cooking something good, and the aroma of the food was wafted down to us from the windows of the big house. We hung about and took all the wonderful smell of the food into our beings. Sometimes, in the morning, our whole family stood outside the windows of the rich man’s house and listened to the musical sizzling of thick strips of bacon or ham. I can remember one afternoon when our neighbor’s servants roasted three chickens. The chickens were young and tender and the fat that dripped into the burning coals gave off an enchanting odor. We watched the servants turn the beautiful birds and inhaled the heavenly spirit that drifted out to us.

Some days the rich man appeared at a window and glowered down at us. He looked at us one by one, as though he were condemning us. We were all healthy because we went out in the sun every day and bathed in the cool water of the river that flowed from the mountains into the sea. Sometimes we wrestled with one another in the house before we went out to play.

We were always in the best of spirits and our laughter was contagious. Other neighbors

who passed by our house often stopped in our yard and joined us in our laughter.

Laughter was our only wealth. Father was a laughing man. He would go in to the living room and stand in front of the tall mirror, stretching his mouth into grotesque shapes with his fingers and making faces at himself, and then he would rush into the kitchen, roaring with laughter.

There was plenty to make us laugh. There was, for instance, the day one of my brothers came home and brought a small bundle under his arm, pretending that he brought something to eat, maybe a leg of lamb or something as extravagant as that to make our mouths water. He rushed to mother and through the bundle into her lap. We all stood around, watching mother undo the complicated strings. Suddenly a black cat leaped out of the bundle and ran wildly around the house. Mother chased my brother and beat him with her little fists, while the rest of us bent double, choking with laughter.

zarzuela/sarsuela

Zarzuela, is a Spanish lyric-dramatic genre that alternates between spoken and sung scenes, the latter incorporating operatic and popular song, as well as dance. The name derives from a Royal hunting lodge, the Palacio de la Zarzuela near Madrid, where this type of entertainment was first presented to the court.

There are two main forms of zarzuela: Baroque zarzuela, the earliest style, and Romantic zarzuela, which can be further divided into two. main sub-genres of género grande and género chico although other sub-divisions exist.

Zarzuela spread to the Spanish colonies, and many Hispanic countries - notably Cuba - developed their own traditions. There is also a strong tradition in the Philippines where it is also known as zarzuelta. Other regional and linguistic variants in Iberia include the Basque zartzuela and the Catalan sarsuela.

A masque-like musical theatre had existed in Spain since the time of Juan del Encina. The zarzuela genre was innovative in giving a dramatic function to the musical numbers, which were integrated into the argument of the work. Dances and choruses were incorporated as well as solo and ensemble numbers, all to orchestral accompaniment.

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Source(s): Tanikalang Guinto (Golden Chain) is a drama in three acts, written by Juan Abad in 1902. this was first staged at the Teatro Libertad on 7 July 1902. At the performance in Batangas, Batangas, this was banned as "seditious" on 10 May 1903. Abad was sentenced to two years imprisonment and fined $2,000. After the Supreme Court acquitted him of seditious charges this was published in Amelia Lapeña-Bonifacio, The "Seditions" Tagalog Playwrights: Early American Occupations , Manila: Zarzuela Foundation of the Philippines, 1972, and in Arthur Riggs, The Filipino Drama [1905] , Manila: Intramuros Administration, 1981.

This play is an allegory hidden in the love story of "Liwanag" and "Kaulayaw". This stressed on the rise of the spirit of independence and struggle as defended by the Filipino revolutionist from the American Government.

Not yet, rizal, not yet. Sleep not in peace:
There are a thousand waters to be spanned;
There are a thousand mountains to be crossed;
There are a thousand crosses to be borne.
Our shoulders are not strong; our sinews are
Grown flaccid with dependence, smug with ease
Under another’s wing. Rest not in peace;
Not yet, Rizal, not yet. The land has need
Of young blood-and, what younger than your own,
Forever spilled in the great name of freedom,
Forever oblate on the altar of
The free? Not you alone, Rizal. O souls
And spirits of the martyred brave, arise!
Arise and scour the land! Shed once again
Your willing blood! Infuse the vibrant red
Into our thin anaemic veins; until
We pick up your Promethean tools and, strong,
Out of the depthless matrix of your of your faith
In us, and on the silent cliffs of freedom,
We carve for all time your marmoreal dream!
Until our people, seeing, are become
Like the molave, firm, resilent, staunch,
Rising on the hillside, unafraid,
Strong in its own fibre, yes, like the molave!

My Father Goes to Court is a humorous story by Carlos Bulosan. It is perhaps the most famous one among the stories in his collection The Laughter of my Father, published in New York by Harcourt and Brace 1944, having previously appeared in The New Yorker on 13 November 1943. The story is set in a city in the Philippines. The young narrator begins by describing his large family. Though they are poor they are full of mischief and laughter. The children are all strong and healthy even though they often go hungry. In contrast, their rich neighbor’s children are thin and sickly although they are given plenty of good food, which their impoverished neighbors enjoy smelling over the fence. Consequently, the rich man brings a charge against the narrator's family for stealing the spirit of his family’s food. The absurd case goes to court, and the narrator’s father agrees to pay back the rich neighbor. He does this by collecting coins from all his friends present in his hat, then shaking the hat full of coins. Being charged to pay for the spirit of food which his family supposedly got from its smell, he maintains that the jingling of the coins is a fair equivalent. The judge rules in the poor father’s favor, and the rich man is forced to depart with no other payment than the “spirit” of the money the poor man collected.

This story, along with the others in the collection The Laughter of My Father, has a serious intent behind its humor. In fact, Bulosan was outraged by the focus on his stories’ humor. He said in response to the criticism on the book: “I am mad because when my book 'The Laughter of my Father' was published by Harcourt, Brace & Company, the critics called me ‘the manifestation of the pure Comic Spirit.’ I am not a laughing man. I am an angry man.” Unfortunately, the general consensus about these stories of Bulosan seems to be, as said Avelina Gil, that although they were "[i]ntended to be serious protest against the economic system of his time,” the stories’ “hilarious, even grotesque, situations which Bulosan treats almost like vignettes mask the satire on Filipino poverty and ignorance." L.M. Grow suggest that perhaps what accounts for Bulosan’s anger over the critics’ reaction is his anger over the mistreatment he received as a Filipino living in America, which he might have hoped to communicate through his stories. In particular, “My Father Goes to Court” fails as protest literature because the judge favors the side of the poor father, showing that the system can work for the downtrodden.

Grow observes Bulosan’s stories read like folklore. It was said that Bulosan picked up the plots for these stories from an old man in his hometown. Whether or not this is true, as seen in “My Father Goes to Court” the traditional folkloric plot found in trickster-type tales is present. This kind of plot is found in some of the Juan Tamad stories beloved in the Philippines. And so, like most folklore, it has a subtext that promotes the downtrodden in favor of the rich, but no strong protest is evident.

Zarzuela (Spanish pronunciation: [θarˈθwela]) is a Spanish lyric-dramatic genre that alternates between spoken and sung scenes, the latter incorporating operatic and popular song, as well as dance. The name derives from a Royal hunting lodge, the Palacio de la Zarzuela near Madrid, where this type of entertainment was first presented to the court.
There are two main forms of zarzuela: Baroque zarzuela (c.1630–1750), the earliest style, and Romantic zarzuela (c.1850–1950), which can be further divided into two. main sub-genres of género grande and género chico although other sub-divisions exist.
Zarzuela spread to the Spanish colonies, and many Hispanic countries – notably Cuba – developed their own traditions. There is also a strong tradition in the Philippines where it is also known as zarzuelta.[1] Other regional and linguistic variants in Spain includes the Basque zartzuela and the Catalan sarsuela.
A masque-like musical theatre had existed in Spain since the time of Juan del Encina. The zarzuela genre was innovative in giving a dramatic function to the musical numbers, which were integrated into the argument of the work. Dances and choruses were incorporated as well as solo and ensemble numbers, all to orchestral accompaniment.

Contents [hide]

Baroque zarzuela

In 1657 at the Royal Palace of El Pardo, King Philip IV of Spain, Queen Mariana and their court attended the first performance of a new comedy by Pedro Calderón de la Barca, with music by Juan Hidalgo de Polanco. El Laurel de Apolo (The Laurels of Apollo) traditionally symbolises the birth of a new musical genre which had become known as La Zarzuela. The genre was named after the Palacio de la Zarzuela, one of the King's hunting lodges, situated in a remote countryside thick with zarzas or brambles, in what is now El Pardo.
Like Calderón de la Barca's earlier El golfo de las sirenas (The Sirens' Gulf, 1657), El Laurel de Apolo mixed mythological verse drama with operatic solos, popular songs and dances. The characters in these early, baroque zarzuelas were a mixture of gods, mythological creatures and rustic or pastoral comedy characters; Antonio de Literes's popular Acis y Galatea (1708) is yet another example. Unlike some other operatic forms, there were spoken interludes, often
in verse.

Italian influence

In 18th-century Bourbon Spain, Italian artistic style dominated in the arts, including Italian opera. Zarzuela, though still written to Spanish texts, changed to accommodate the Italian vogue. During the reign of King Charles III, political problems provoked a series of revolts against his Italian ministers; these were echoed in theatrical presentations. The older style zarzuela fell out of fashion, but popular Spanish tradition continued to manifest itself in shorter works, such as the single-scene tonadilla (or intermezzo) of which the finest literary exponent was Ramón de la Cruz. Musicians such as Antonio Rodríguez de Hita were proficient in the shorter style of works, though he also wrote a full-scale zarzuela with de la Cruz entitled Las segadoras de Vallecas (The Reapers of Vallecas, 1768). José Castel was one of several composers to write for the Teatro del Príncipe.

[edit] 19th century

In the 1850s and 1860s a group of patriotic writers and composers led by Francisco Barbieri and Joaquín Gaztambide revived the zarzuela form, seeing in it a possible release from French and Italian cultural hegemony. The elements of the work continue to be the same: sung solos and choruses, spiced with spoken scenes, and comedic songs, ensembles and dances. Costume dramas and regional variations abound, and the librettos (though often based on French originals) are rich in Spanish idioms and popular jargon.
The zarzuelas of the day included in their librettos various regionalisms and popular slang, such as that of Madrid castizos. Often, the success of a work was due to one or more songs that the public came to know and love. Despite some modifications the basic structure of the zarzuela remained the same: dialogue scenes, songs, choruses, and comic scenes generally performed by two actor-singers. The culminating masterpieces from this period were Barbieri's Pan y toros and Gaztambide's El juramento. Another notable composer from this period was Emilio Arrieta.

[edit] Romantic zarzuela

After the Glorious Revolution of 1868, the country entered a deep crisis (especially economically), which was reflected in theatre. The public could not afford high-priced theatre tickets for grandiose productions, which led to the rise of the Teatros Variedades ("variety theatres") in Madrid, with cheap tickets for one-act plays (sainetes). This "theatre of an hour" had great success and zarzuela composers took to the new formula with alacrity. Single-act zarzuelas were classified as género chico ("little genre") whilst the longer zarzuelas of three acts, lasting up to four hours, were called género grande ("grand genre"). Zarzuela grande battled on at the Teatro de la Zarzuela de Madrid, founded by Barbieri and his friends in the 1850s. A newer theatre, the Apolo, opened in 1873. At first it attempted to present the género grande, but it soon yielded to the taste and economics of the time, and became the "temple" of the more populist género chico in the late 1870s.
Musical content from this era ranges from full-scale operatic arias (romanzas) through to popular songs, and dialogue from high poetic drama to lowlife comedy characters. There are also many types of zarzuela in between the two named genres, with a variety of musical and dramatic flavours.
Many of the greatest zarzuelas were written in the 1880s and 1890s, but the form continued to adapt to new theatrical stimuli until well into the 20th century. With the onset of the Spanish Civil War, the form rapidly declined, and the last romantic zarzuelas to hold the stage were written in the 1950s.
Whilst Barbieri produced the greatest zarzuela grande in El barberillo de Lavapiés, the classic exponent of the género chico was his pupil Federico Chueca, whose La gran vía (composed with Joaquín Valverde Durán) was a cult success both in Spain and throughout Europe. Valverde's son "Quinito" Valverde was even more famous in his day than his father had been.
The musical heir of Chueca was José Serrano, whose short, one act género chico zarzuelas - notably La canción del olvido, Alma de dios and the much later Los claveles and La dolorosa - form a stylistic bridge to the more musically sophisticated zarzuelas of the 20th Century.

[edit] Zarzuela in Catalonia

While the zarzuela tradition flourished in Madrid and other Spanish cities, Catalonia developed its own zarzuela, with librettos in Catalan. The atmosphere, the plots, and the music were quite different from the model that triumphed in Madrid; the Catalan zarzuela was looking to attract a different public, the bourgeois classes. Catalan zarzuela was turned little by little into what is called, in Catalan, teatre líric català ("Catalan lyric theater"), with a personality of its own, and with modernista lyricists and composers.
In the final years of the 19th century, as modernisme emerged, one of the notable modernistas, and one of Felipe Pedrell's pupils, Amadeo Vives came onto the Barcelona scene. He contributed to the creation of the Orfeó Català in 1891, along with Lluís Millet. In spite of a success sustained over many years, his musical ambition took him to Madrid, where zarzuela had a higher profile. Vives became one of the most important zarzuela composers, with such masterpieces as Doňa Francisquita, La villana (both based on plays by Lope de Vega) and the through-written opera in zarzuela style Maruxa.

[edit] Twentieth century

In the first years of the 20th century, greater quality pieces were composed, such as Doña Francisquita by Amadeo Vives. Zarzuela was supported together with these works that, sometimes, were adapted to the Italian opera musical structure, thanks to the works of Pablo Sorozábal, Federico Moreno Torroba and Jacinto Guerrero. The zarzuela style continued to flourish, thanks to composers of the stature of Pablo Sorozábal – who reinvigorated it as a vehicle for socio-political comment – Federico Moreno Torroba, and Francisco Alonso.
However, the Spanish Civil War brought a decline of the genre, and after the war, its extinction was almost total. There were no new authors in the genre and the compositions are not renovated. There have been no significant new works created since the 1950s; the existing zarzuela repertoire is costly to produce, and many classics have been performed only sporadically in recent years, at least professionally. Furthermore, existing zarzuela is difficult and expensive to play, and is only seen sporadically, by seasons, during a few days.
The name of género ínfimo was given to the emerging form of entertainment known as revistas, a genre rising from the ashes of zarzuela: musical works similar to the zarzuela but lighter and bolder, with many scenes that were described at the time as verdes—"green"—containing sexual themes and racy double entendres. One masterpiece of the género ínfimo ("minimal" or "extremely low genre") is La corte de Faraón, by Vicente Lleó (based on the French operetta Madame Putiphar.) These revistas caught on with the public and the songs are still a part of popular culture.
From 1950, zarzuela was revivified by the invention of LP recordings. A series was released by the Alhambra Company to great success, many directed by the Spanish conductor Ataulfo Argenta. The best voices of the day, world-renowned opera singers such as Teresa Berganza, Manel Ausensi, and Pilar Lorengar, performed the leads, and choirs such as the Orfeón Donostiarra and Coro de Cantores de Madrid provided the chorus. After Argenta's death others such as Indalecio Cisneros and Rafael Frühbeck de Burgos continued in his footsteps. There were also recordings made conducted by the composers themselves, such as Pablo Sorozábal and Federico Moreno Torroba, using such great singers as Alfredo Kraus and Plácido Domingo. (Domingo's parents were themselves zarzuela singers, and he grew up working in their touring company in Mexico; zarzuela inspired him to pursue a singing career.)
In Cuba the afrocubanismo zarzuelas of Ernesto Lecuona (María la O; El cafetal), Eliseo Grenet (La virgen morena) and Gonzalo Roig (Cecilia Valdés, based on Cirilo Villaverde's classic novel) enjoyed a brief golden age of political and cultural fame, highlighting the plight of the mulata woman and other, mainly black, underclasses in Cuban society. The outstanding vedette who sang and acted in many of these productions was Rita Montaner. Mexico and the Philippines likewise had their own, politically conscious, zarzuela traditions. In the Philippines, the zarzuela has become known as sarsuwela. A variety called Zarzuela Ilocana is staged in the Ilocano dialect. [2]
Interest has been further renewed since the late 1970s as zarzuela, after the death of Francisco Franco, again found favor in Spain and elsewhere. Young people, in particular, enjoyed the lyrical music and the theatrical spectacle. Radio and television dedicated program slots to zarzuela, including a popular series of programs offered by TVE entitled Antología de la zarzuela ("Zarzuela Anthology"), based on lip syncs of the classic recordings of the 50s. Some years earlier, impresario Jose Tamayo had created a theatrical show by the same name that popularized zarzuela with several international tours.

Tanikala

Submitted by meg on November 7, 2006 - 8:16pm. English | Poetry | How will you know if it's time to let go?

Body:

Isa kang kadenang pumipigil sa aking mga hakbang,

Hakbang papalayo sa nais ng takasan,

di-lang dahil sa pait na bunga nito

kundi na rin sa lamig na patuloy

na pinadarama sa kanlungan mo.

 
Isa kang yumayapos sa aking

Puso, pinipigil ang pagtibok nito.

Upang muling ipagunita

ang mga panahong lumipas na.

Isa kang pasanin sa aking dibdib,

Pinupuno ako ng dalamhati at pighati.

Subalit kailangang ako'y tumiwalag na

sa mahigpit mong pagkakahawak,

Upang ako nama'y makapagsimula na ...

molave

Molave is a 1st class municipality in the province of Zamboanga del Sur, Philippines. It has a population of 48,215 as of Aug 1, 2007 Census. The name "Molave" refers to the hard, strong and resilient trees abounding in the place during the 1950s. It was created through the efforts of Congressman Alano, as a daughter municipality of Aurora by Republic Act No. 296 on June 16, 1948. Molave is located in the eastern part of the province of Zamboanga del Sur. It has a total land area of 21,685 hectares.
Molave is politically subdivided into 25 barangays.

Alicia Ariosa Bagong Argao Bagong Gutlang Blancia Bogo Capalaran Culo Dalaon Dipolo Dontulan Gonosan Lower Dimalinao Lower Dimorok

Mabuhay Madasigon (Pob.) Makuguihon (Pob.) Maloloy-on (Pob.) Miligan Parasan Rizal Santo Rosario Silangit Simata Sudlon Upper Dimorok

Contents [hide] 1 Geographical Location 2 Climate 3 Topography 4 Historical Background 5 Economy 6 Agriculture 7 Health 8 Sports and Recreation 9 Peace and Order 10 Education 11 External links

[edit] Geographical Location

Molave is located in the eastern part of the Province of Zamboanga del Sur. It is bounded by the municipalities of Tambulig in the east, Mahayag in the west, Josefina and Province of Zamboanga del Norte in the north and Ramon Magsaysay in the south. It is approximately 38 kms. from its capital Pagadian City and 58 kms. to Ozamis City. It is situated on longitude 123 deg 29 min 50 sec, latitude 7 deg 5 min 50 sec and is 15 meters above sea level.

[edit] Climate

As shown in the climatologic map of PAG-ASA, Molave is of 4th type where rainfall is evenly distributed throughout the year. The area has a fairly warm temperature having an average temperature of 29.7 degrees centigrade.

[edit] Topography

Topography/Slope:
Molave is divided into two topographical areas, namely: the lowland area which covers 30% of the total land area is composed of nine (9) barangays and is situated in the east and southwest portion is generally flat, swampy and marshy; while the upland portion which covers 70% of the total land area is hilly and mostly deforested. The terrain and slope pattern is moderately sloping to rolling with 2 slope variations from 10% in the lowland to 27% in the mountainous areas.
Soil Type:
There are two types of soil found within the municipality. In the lowland areas and part of the upper barangays, the type of soil is San Miguel Silt Loam. Adtoyon Clay Loam is found in the upland areas. San Miguel Silt Loam is best suited for cultivation and requires only simple and good farm management practice. The other kind of soil which is the Adtoyon Clay Loam can be used for grazing and diversified crops like corn, cassava, camote, etc.

[edit] Historical Background

Nestled at the foot of a verdant hill and bounded by Salug Diut River and mountain ranges that makes it free from typhoons, is the municipality of Molave which has been the hub of commerce and center of trade in the eastern part of Zamboanga del Sur particularly the Salug Valley area. Its name was taken after a hardwood, the Molave tree that abounds in the place during its early days. Its creation started in the early thirties as a small patch of settlement in a marshy jungle that was originally known as Salug. The fertile land in the Salug Valley attracted more settlers from distant places of Luzon, Visayas and Mindanao which made it a conglomeration of Cebuano, Boholano, Ilongo, Tagalog, Ilocano, Leyteño, Misamisnon, Surigaonon and other different Muslim and ethnic groups. However, the Subanens were known to be the early settlers of this place.
The continuous influx of people from different places made possible the rapid development of this small start-up settlement. Then by June 16, 1948, Molave was created into a municipality by virtue of Republic Act No. 286 authored by the late Cong. Juan S. Alano from its mother town Aurora.
The late Pelagio Blancia was the first mayor by appointment. He was defeated in the 1951 local elections and the newly elected Mayor Javier Ariosa transferred the seat of government from Camp 7 (now Barangay Blancia) to its present site.

[edit] Economy

Our municipality is the hub of commerce and trade in what is known as the Salug Valley. Six municipalities converge here in Molave to do business; even the neighboring provinces and cities come to Molave. We shall exploit this favored position to the hilt, which shall spell greater progress for our municipality and the Salug area in general.
Under my administration, I have adopted an open business policy. New investments are welcomed without any bias or any personal considerations. For year 2002, out total income increased by 25% compared to the 2001 actual income or an increase of P 9.9 million. The total income was P 49,483,254 million, this exceeded our targeted income by more than P 1.1 million. Our net income reached P 7.3 million.
Specifically, properly taxes amounted to P 768,898.70 while taxes on goods and services totaled reached P 43 million. Among our economic enterprises, our public market generated the highest income of P 3 million, followed by the water system with P 1.4 million and then the slaughterhouse having P 366,841.50. We had appropriated for P 50,611,237.50 but only P 47,417,744.80 was actually used or a savings of P 3,193,492.70 at the end of the year 2002. Our total assets which amounted to P 51.9 million increased by 10% compared to last year. Our total liabilities amounted to P 12.3 million.
When the local government unit earns revenues from taxes and its public economic enterprises, this shall mean more, bigger and better projects and programs for the people.
Within 27 months in office, this administration was able to implement numerous programs and projects in infrastructure and socio-economic development with the support of higher officials and offices, the heads and employees of our local and national offices and you Molavenians. (Office of the Municipal Mayor)

[edit] Agriculture

The municipality is basically an agricultural community where 91.85% of the total land area is devoted to agriculture. 1,378.50 hectares of fertile land is fully irrigated and planted with rice. Other agricultural crops are corn, coconut, cassava, banana, camote and various kinds of vegetables are produced within the locality and marketed to neighboring towns and cities and even reaching to Cebu. There are 23 farmer cooperatives within the municipality of which 19 are registered and 4 are not registered with a total of 7,566 farmer members.^{[citation needed]}However, commerce and industry activity of the municipality is fast developing due to its strategic location thus making it as the hub of commerce and trade of the Salug Valley area. Various large commercial and industrial establishments are sprouting within the poblacion area attracting more investors to engage business within the municipality.

[edit] Health

The municipality has 10 existing Barangay Health Stations, 1 lying-in (Maternity) clinic, 26 Health and Nutrition Posts and a Municipal Health Center, staffed by 1 rural health physician, 1 dentist, 1 sanitary inspector, 3 nurses and 11 midwives. Further, it has 3 private hospitals, 5 private clinics and 10 pharmacies.^{[citation needed]}

[edit] Sports and Recreation

Sporting facilities include municipal gymnasium, 3 tennis courts, 4 basketball courts, 3 volleyball courts and a sports complex facility of the Molave Regional Pilot School. Providing recreation are the municipal plaza with its playground paraphernalia, and a landscaped tourism spot. A pylon stands at the heart of the plaza to serve as a landmark.

[edit] Peace and Order

The Molave Municipal Police station has two (2) PCOs and twenty four (24) PNCOs serving the populace. This station has two (2) outposts/detachments situated at barangay Dipolo and Sudlon. Molave is generally peaceful with a crime efficiency rate of 95% and 160 crime incidents reported as of 2007, a decrease of 5% or 8 crime incidents compared to 2006’s or last year’s one hundred sixty eight (168) crime incidents. The presence of the 10th Infantry Battalion of the 1st Infantry Division stationed at Barangay Bag-ong Argao and the 906th Provincial Mobile Group had help much in keeping its peaceful environment for the whole municipality and of Salug Valley area.^{[citation needed]}

[edit] Education

As center of education and culture, there are four (4) private pre-schools; twenty three (23) public and 1 private elementary school; six (6) primary schools; five secondary schools and 2 (1 private and 1 public) tertiary schools. To meet the growing needs of young Molavenians for quality basic education, the LGU shouldered an equity of P600,000.00 for a six room 2-storey TEEP building for MRPS. At MVTS another six room 2-storey SEDIP building and a two room science laboratory have been built for P6.8M with the 10% equity put up by the joint efforts of the LGU and the PTCA whose president happens to be Mayor Saniel.
This linkage dates back to a time long before MVTS principal Dr. Linda M. Saniel assumed the leadership of MVTS.
All barangay Elementary and Secondary Schools have also been recipient of TEEP/SEDIP rehab or construction funds.
Colleges:

• Blancia Carreon College Foundation, Inc. [1]
• Western Mindanao State University - External Studies Unit, Molave

High Schools:

• Blancia Carreon College Foundation, Inc. (High School Department)[2]
• Molave Vocational Technical School (MVTS)
• Sacred Heart High School
• Parasan National High School
• Simata National High School

lola basyang

Mga Kuwento Ni Lola Basyang: Classic Tagalog Tales in Komiks

I have been re-reading old issues of the Liwayway recently, the oldest existing Tagalog magazine in the Philippines. I am a big fan of the Liwayway, especially the older issues from the prewar up to the early 1970s.

It's really hard nowadays to find vintage copies of old Liwayway. Like Tagalog komiks, Liwayway was very popular back then, but very few Filipinos managed to collect them; the old Liwayway copies have suffered the same fate of the old komiks: pambalot ng tinapa (dried fish wrapper).

I liked the Liwayway not only because I enjoyed the stories in it, but also because I learn so much from it, the most important of which is my understanding of the Tagalog language. I have a deep admiration for the Tagalog language, and by reading Liwayway, my own Tagalog communication skills are enriched.

Yesterday, while browsing an old copy of Liwayway, I found one of the classic anthologies in Tagalog literature: "Mga Kuwento ni Lola Basyang".
Don Severino Reyes, the famous Tagalog playwright of the early 1900s-who wrote the immortal "Walang Sugat" play- was the man behind the Lola Basyang stories.

"Ang Hari sa Bundok na Ginto" Tagalog Klasiks #7. Written by Severino Reyes, comics adaptation by Pedrito Reyes, illustrations by Jesus Ramos. Cover art by Maning De Leon.

Popularly known as Mang Binoy, Don Severino Reyes, was also the co-founder and editor of the Liwayway in 1923. The very first years of the Liwayway was a struggle, and there was scarcity of literature to include in its contents, so Mang Binoy created the "Mga Kuwento ni Lola Basyang" in 1925 as filler. He did not sign it with his name though because he thought it was unethical, while still serving as editor of the magazine.

And so Mang Binoy used the byline "Lola Basyang" after a friend's neighbor named Gervacia Guzman de Zamora, who was known as "Tandang Basyang". It was from her where Mang Binoy took the inspiration to create"Lola Basyang".

In real life, Tandang Basyang was described as an old bespectacled woman in baro't saya, seated in her famous silyon, and reading her timeless classic stories- dug from her ancient baul- to her fascinated grandchildren.

The grandchildren were more than eager to hear stories about faraway castles, heroic princes, lovely maidens, giants, and elves. Always, at the end of each story is a moral lesson to be learned.

The first story of the "Mga Kuwento ni Lola Basyang" was entitled ang "Plautin ni Periking", a wonderful story of a kindhearted kid who has a magical flute and flying carpet.

It was the first of the more than 400 "Lola Basyang" stories to have graced the Liwayway, and only discontinued because of Mang Binoy's death in 1942.

Ang Sirena sa Ilog Pasig. Tagalog Klasiks #5.

In 1949, Mang Binoy's son, Pedrito Reyes, decided to revive the "Lola Basyang" stories. Working on the original scripts of his father, Pedrito transformed Lola Basyang's stories into komiks form, appearing in the earliest isuues of the Tagalog Klasiks. The illustrations were done by Maning De Leon, Jesus Ramos, and later on Ruben Yandoc and Jess Jodloman.

Ang Sinsing na Tanso. Mga Kuwento ni Lola Basyang. Illustrated by Jess Jodloman.

The "Lola Basyang" stories became more popular with its komiks versions, because now, Filipinos can visualize the stories by means of the illustrations. Later on, in the early 1950s, based on the komiks versions, a succesful movie adaptation was created. Now, GMA Channel 7 is adapting the stories into a television series.

Well, that's just goes on to say that a classic never goes out of style.

And the Liwayway and "Mga Kuwento ni Lola Basyang" never will.

Haring Tulisan. Mga Kuwento ni Lola Basyang. Illustrated by Ruben Yandoc.

Ang Prinsipeng Unggoy.Tagalog Klasiks #3.1949. Author's collection.

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