TEATRO BALANGAW MARINDUQUE, Act Twelve, 2006

"ANG KRISTO: PASYON-DULA", BUENAVISTA, MARINDUQUE ABRIL 12 & 13, 2006

MGA TALA NG MANUNULAT AT DIREKTOR TUNGKOL SA DULA:

‘SINAKULO’
“Sinakulo” ang tawag sa alin mang pang-Mahal na Araw na dula tungkol sa kalbaryo ng Panginoong HesuKristo. Karaniwang sinisimulan ito sa Banal na Hapunan (“senakulo” ang turing sa silid na pinagdausan ng ‘Huling Hapunan’ ni HesuKristo at mga apostoles ayon sa ‘Pasyong Mahal’) at natatapos sa ‘Pagkabuhay Muli’.
Tila laging bantulot naman ang mga kritiko ng sining na ihanay sa tinataguriang lehitimong teatro ang ‘Sinakulo’ tulad ng noo’y ‘Zarzuela’ at ‘Moro-moro’ at modernong teatro ngayon dahil diumano sa ‘kapayakan’ ng mga ito. Ibang pamamaraan at pamantayang estetiko raw ang ginagamit sa mga ito na higit na umaasa sa mga ‘payak’ na personal o pinaghalong interpretasyon ng mga gumaganap bilang tauhan at mga namamahala ng ‘Sinakulo’.

Naroong makita natin, halimbawa, na para makilala ng mga manonood si San Pedro ay kailangang may dala itong panabong dahil itinatwa nito si Hesus ng tatlong beses bago tumilaok ang manok, sa iba naman ay kailangang may hawak na susi ng lanngit.

Bagama’t ang lihim na pag-iibigan nina Claudia at Longhino tulad ng sa ilang lugar ay hindi maaring sabihing ‘payak’ kung ang basehan ay kaisipan ng sumulat nito na inimport pa nga naman. At lalong hindi masasabing ‘payak’ kung libo-libong piso (o milyon-milyong piso kaya), ang ginagasta para sa pagpapatayo ng palasyo ni Pontio Pilato na ang disenyo ay tipong Disneyland o ‘Camelot’. Subalit ‘Sinakulo’ pa rin ang mapuwersang turing ng lahat sa mga ito. At ‘senakulistas’ naman ang tawag ng mga gumaganap sa kanilang sarili, gayundin ang tawag ng mga manonood..

“ANG KRISTO: PASYON-DULA”
Ano’t ano man iyon, nagkaroon ng pagkakataong mabuo ang “ANG KRISTO: PASYON-DULA” sa bayan ng Buenavista, Marinduque ngayong taong 2006. 

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Sa mga kadahilanang nabanggit na, hindi nga ito ‘Sinakulo’. ‘Passion Plays’ ang tawag sa Ingles sa mga dulang naglalarawan sa buhay at pasakit ni HesuKristo, mula sa Oberammergau (Alemanya), hanggang sa Estados Unidos na kung saan ito itinatanghal at dinarayo upang panoorin. Kaya’t bago ito tawaging ‘Sinakulo’ ay maiging idikit na ng maaga ang salitang “Pasyon-Dula” sa titulo ng “ANG KRISTO”. Nang may kasimplehan o ‘kapayakan’. Ang tawag sa kabuuhan ng gawain mula pag-iisip, pananaliksik, pag-eensayo, hanggang sa pagtatanghal ay simple rin: Pasyon-Dulaan.

Ang kaibahan nga lamang, upang higit na maunawaan ng mga manonood ng pasyon-dulang ito kung saan nagmula ang mga pangyayaring naging kadahilanan sa pagpako sa Krus at pagkamatay ng Panginoong HesuKristo, na hindi maaaring makita kung ang dula ay sisimulan sa Huling Hapunan, kinailangang simulan ang kuwento mula sa pagbautismo kay Hesus ni Juan Bautista at ipakita ang mga mahahalagang pangyayari ayon sa kuwento ng buhay Niya mula ng panahong iyon. 

Ang mga mahahalagang pangyayaring ito ang binigyang buhay sa unang bahagi ng dula. Kaya’t ang ikalawang bahagi ay magsisimula naman sa pagsalubong sa Kanya sa Herusalem.
Kinailangan ang masusing pananaliksik.

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Ginamit ang ‘Magandang Balita Biblia’, King James Version ng Biblia, ‘Kasaysayan ni Longhino’ (Eli Obligacion, dulang itinanghal sa Gasan, Marinduque 1997),’Gospel of Luke’ (Catholic Pastoral Edition), ‘The Lost Teachings of Jesus’ (Summit Univ. Press),’The Story of Redemption’(Ellen White), ’Pasion ni Hesukristo’ (Mariano Pilapil), ‘The Life of St. Longinus’ (Caxton’s English Text), ‘Detached Account of Longinus (Emmerich), ‘Detached Account of Abenadar’ (Emmerich), Internet search finds tungkol kay Claudia Procula, Longinus, Pontius Pilate.
Pinanggalingan din ng ilang materyal ang mga pelikulang “The Passion of the Christ”, “Jesus Christ Superstar”, ”Jesus of Nazareth”, “Jesus”. Ang mga teksto sa iskrip na may kaukulang marka ay direkta o halos direktang hinango sa ‘Magandang Balita Biblia’.

PAGBUBUO AT DIWA NG BOLUNTERISMO
Natapos ang unang balangkas ng iskrip noong Pebrero 24, 2006. Nagsimulang mamili ng mga magsisiganap sa dula noong Marso 4, 2006, at sinimulan kaagad ang pag-eensayo bagama’t wala pang kaliwanagan kung paano magkakalap o saan manggagaling ang pondong gagastusin sa ganito kalaking produksiyon. (Higit sa 60 ang kailangang magsisiganap). Subali’t tulad ng paulit-ulit naming sinasabi sa mga artistang tumugon sa panawagan, ang ano mang mabuting bagay o magandang panaginip ay hindi mawawalan ng tagasuporta at lahat ay matutugunan – kung may pananampalataya sila sa buti ng kanilang ginagawa.
Sumaklolo na nga ang Pamahalaang Bayan ng Buenavista sa pangunguna ni Mayor Madrigal at kanyang mabubuting mga kaibigan. Gayundin ang mga kaibigan ng Balangaw. Sumuporta ang mga magulang ng mga kabataang kasali (mga mag-aaral at mga out-of-school youths), na nakaunawa na maaaring gabihin sa pag-uwi ang kanilang mga anak sa pag-eensayo. Nagbigay ng suportang moral ang DepEd sa pagsali ng ilang mga guro.
Ang lahat ng may kinalaman sa pagbuo ng dula ay maagang tinanggap sa kanilang sarili na ang pangyayaring ito ay sinasalihan ng bawa’t isa sa Diwa ng Bolunterismo at hangad na maging bahagi ng pagpapayabong ng sining at kultura (o pag-unlad ng turismo man), sa magandang Buenavista. At sa pagsasagawa nito ay maging bahagi ng paghugis ng modernong pangkulturang kasaysayan ng kanilang stariling bayan at komunidad. Iyon lamang!

TAMPOK NA MGA TAGPO
Bangungot ng isang mandudula na sumulat ng isang drama na di naman maiisagawa sa ibat-ibang kadahilanan, mga limitasyon. Subalit depende na nga iyon sa pagkamalikhain ninuman. Sa kaso ng “Ang Kristo”, base sa ipinamalas na kakayahan ng mga artistang gumaganap ay nadagdagan pa ang unang balangkas nito at sa huli ay naisakatuparan ang mga sumusunod na eksena sa loob ng limang linggong pag-eensayo:

UNANG YUGTO “MESIYAS”
1. PAGBAUTISMO KAY JESUS
2. PANUNUKSO NI SATANAS
3. PROKLAMASYON NG MISYON NI HESUS SA NAZARETH
4. MGA PANGARAL NI JESUS / PAGPAPAGALING
5. SI MARIA MAGDALENA
6. SA TANIMAN NG MAIS / ISYU NG SABADO
7. JUAN BAUTISTA IPINABILANGGO!
8. BEELZEBUL
9. BABAENG NAHULI SA PAKIKIAPID
10. “MALAKAS ANG DATING NG JESUS NA ITO!” (MGA KRITIKO)
11. PAGPILI SA LABINDALAWA / BEATITUDES
12. GALIT ANG DIYABLO
13. BABAENG MAKASALANAN SA BAHAY NG PARISEO
14. TRANSFIGURATION
15. ANG TAONG GRASA
16. BUKAS AT WALANG TAKOT NA PAHAYAG NI HESUS
17. SENTIMYENTO NG MGA APOSTOLES
18. SI LAZARO
19. HERODES (DECADENCE)

IKALAWANG YUGTO “KRISTO”
1. MGA KETONGIN
2. PAGPASOK SA JERUSALEM
3. ANG GALIT NA KRISTO
4. KRISTO / MAGDALENA/ APOSTOLES
5. PAGHUHUGAS NG MGA PAA / BANAL NA HAPUNAN
6. GETHSEMANE AT PAGDAKIP KAY KRISTO
7. SANHEDRIN (CAIPHAS, ANNAS, ESCRIBAS, PARISEOS, JUDAS
8. SA HARAP NI PILATO / PAGKAMATAY NI JUDAS
9. HERODES
10. PAGBALIK KAY PILATO
11. PAGHAGUPIT / PAGLIBAK / BARABAS /PAGHUGAS KAMAY
12. PANAGINIP NI CLAUDIA PROCULA
13. PAGTATALO NI PILATO AT CLAUDIA
14. VIA CRUCIS HANGGANG SA PAGLIBING (At mga Piling Salita ni HESUKRISTO) - Pagkadapa; mga kababaihang nanangis; mga Apostol; Maria (Ina), Magdalena, Juan, Veronica, Simon ng Cyrene, kilos ng mga Pariseos, mga Kawal, mga mamamayan, Pagpako, Pagkamatay, Libing.
15. PATOTOO NI LONGHINO / HIMAGSIK NG BUDHI NI PILATO
16. ANG PAGKABUHAY NA MULI NI KRISTO/
PAGPAPAKITA NI KRISTO SA MGA APOSTOLES

PRODUKSIYON
Minabuting period costumes ang idisenyo na sinaliksik ni Ian Sotto ng Escolta. Mga katutubong materyales at disenyo naman para sa props at entablado na dinisenyo ni Alvin Ereso ng Caigangan. May karanasan siya sa ganitong gawain sa mga pang-komersiyal na tanghalan sa Maynila. Si Bobby Labay ng Pinggan ang nagplano ng pang-ilaw na disenyo dahil naging lightsman naman siya sa CCP noong araw. May kaalaman din siya sa paggawa ng fog machine na dry ice ang gamit para sa ilang eksena.
Ang karamihan sa nagsiganap ay sa kabayanan ng Buenavista nakatira. Ang ilan nama’y mga taga Caigangan, Bancoro, Bagtingon, Malbog, Libas, Yook, Antipolo at Lipata. Ang ilan ay hatid ni Ian pag-uwi sa kanyang tricycle.
Wala sa orihinal na plano ang mag-anyaya ng mga panauhing artista (dulaan o pelikula), subalit nabuksan ang pagkakataong makasalamuha naman ng mga kabataang artista ang isa sa kanilang mga hinahangaan na kahaliling gaganap bilang Kristo.

PANANALIG
Sa huli, maliwanag na ang “ANG KRISTO: PASYON-DULA “ ay isang buhay na patotoo na “anuman ang hingin natin sa panalangin, manalig tayong natanggap na natin iyon at matatanggap nga natin!” (Mc 11:24). Amen!

TEATRO BALANGAW TRIVIA

 Ang salitang Balangaw na ang ibig sabihin ay Bahaghari ay aking kinalakihang salita gamit sa hinterlands ng Marinduque.

Pagdating sa kabayanan nalaman ko na lamang na ni hindi nila barinig iyon.

TEATRO BALANGAW MARINDUQUE, ACT TWELVE, 2005

 2005 : QUO VADIS BALANGAW?

There is a notion that community theaters are “where people's most base elements thrive: egos exalted, fed, stroked, and patted; jealousies run rampant; tantrums tolerated and considered part of the culture; where strangers come together--for nothing profitable, nothing useful, nothing tangible or lasting, for nothing more than such stuff as dreams are made of--all because of some unnamable desire to imagine themselves into other people's stories and relate those stories to others.” (Cohen, 2001)

But Balangaw never was a place for that. Here, egos are deflated before they attempt to reach the skies; jealousies discouraged; tantrums are never tolerated as they are considered not part of the culture; where strangers come and are told that they have a responsibility to change the situations around them that make their lives miserable; that they can effect positive changes in society, but that it starts with them; that we have come together to prove to the community that not all have accepted their fate as slaves or serfs in such a feudalistic island; that we have a responsibility to those who will come after us and those after them and must strive to cease the wanton destruction of our environment; that the vain desire to just imagine themselves into other people’s stories is not art but just an illusion; that our work is nothing if it does not serve a greater social purpose.

At Balangaw no one has sought recognition for his/her work except a few – those who continue to harbor blind, grandiose, illusory thoughts of epical greatness about themselves - who turn up at moments of victory to seize and steal the moment from those who have labored - hard against many odds - for their art, their creation

Aba ah anong haba noon. Resulta ng katotohanang wala kang napala, at wala kang kadala-dala sa pagteteatro mo.

Nasaan na yung mga kasamahan mo dati? Sina Danny Mandia, Dindo Asuncion, Peng Recalde Rudy Mariposque, Benjie Montenegro!  

Hindi nawala kailanman si Benjie at si Rudy, salamat sa Diyos! Nandiyan pa rin basta't makakatulong sila. Kahit nasa Kamaynilaan sila at ako nama'y nasa dulo ng Marinduque, ay ayos lang.

May mga bagong kahalili yung nawala. Si Selo Salvacion ng Gasan ay ilang taon ding nagpakahirap sa Teatro. Gayun din si Ian Sotto at Joseph Ogalinola - ng walang kapalit, wala talaga kundi Kaligayahan.

(to be continued)

TEATRO BALANGAW MARINDUQUE, ACT ELEVEN, 2007

 THE VERY FIRST-EVER "ARAW NG MARINDUQUE" - 2008  

It was on February 2008, when the very first Araw ng Marinduque celebration was held. For the love of Marinduque.

The idea of celebrating Marinduque’s founding anniversary in fitting ceremonies province-wide with activities showcasing its traditional arts & culture, history, products and uniqueness as a province, in the same vein that all municipalities, provinces and cities in the Philippines mark their own anniversaries, was proposed by this blogger in late November 2007, in his capacity as consultant for tourism and cultural affairs of to the provincial government. 

The said proposal was warmly supported by the Sangguniang Panlalawigan’s Committee on Tourism chaired by the late board member Yolando Querubin.

Knowing that the funds of the provincial government for such activities were limited at that time, I had the opportunity to discuss the possibility of obtaining a grant from the National Commission for Culture and the Arts with the late NCCA Commissioner Elmer B. Ingles while attending a seminar in Vigan earlier in the same month of November. Ingles was enthusiastic about the idea of supporting a joint PHILIPPINE ARTS FESTIVAL (PAF) and “ARAW NG MARINDUQUE” celebration, both occurring in the month of February (now National Arts Month).

On my way back to Marinduque from Vigan I already got a phone call from a NCCA culture and arts officer, apparently directed by the commissioner asking me to immediately fax my proposal that should strictly follow the official guidelines for the Philippine Arts Festival grants. But it had to be done right away as the deadline for submission was already on the following day. 

I complied with that and soon after came the response for the inclusion of Marinduque in the national arts festival project. A Memorandum of Agreement between the Provincial Government of Marinduque and the NCCA was eventually signed, witnessed by the Provincial Accountant with the Provincial Treasurer issuing a certificate on which official bank account the NCCA funds should be transferred to.

PAF-ARAW NG MARINDUQUE COMMITTEE
A committee tasked to map out plans for the celebration was immediately created. This was composed of representatives of the Provincial Planning and Development Office, the Provincial Tourism Office, the Office of the Governor, Sangguniang Panlalawigan, the Department of Trade and Industry, the Department of Education, the Provincial Engineering Office and the six municipalities of Boac, Buenavista, Gasan, Mogpog, Torrijos and Sta. Cruz.

“VIVA MARINDUQUE” was adopted as the project title of “ANI NG SINING IN MARINDUQUE: PHILIPPINE ARTS FESTIVAL 2008”, and in line with NCCA objectives - to celebrate the Filipinos artistic creations; to promote the Filipino creativity, specifically of local and indigenous talents, through various forms of artistic expressions; to provide a venue for broader participation in creative activities; to drumbeat “Araw ng Marinduque” as a new avenue for cultural-tourism promotion and development in the province.

It also aimed to raise the level of cultural awareness among local artists and the community, in general, and is expected to pave the way for the honing of local talents, as well as strengthening their network among other artists, cultural workers and arts enthusiasts within and beyond the island-province. 

It was also seen as a rare opportunity to raise the level of local and national awareness on Marinduque’s rich cultural heritage.

The “Viva” project was held as an interactive and collaborative project with the NCCA, all the local municipalities, participating schools, cultural organizations, performers and participating groups. This showcase was then presented in all the six municipalities, simultaneous with the arts festivals in Luzon, Visayas and Mindanao.

VENUES
Available public spaces were utilized, namely, covered courts, gyms or open spaces, specifically Boac Covered Court, Mogpog Covered Court, Sta. Cruz Gym, Open Court in Torrijos, Open Public Park in Buenavista and Municipal Tennis Court in Gasan.

The February rains posed a problem as there were days when it rained the whole day on scheduled dates. In Sta. Cruz the original venue had to be changed from the Sta. Cruz Open Court to the Gym two hours before the show. In Torrijos, Buenavista and Gasan, the venues of which had open spaces the rains stopped as if on cue. In all the venues and scheduled dates the programs started at exactly 7:31pm).

The cast dressed up all the venues with backdrops, curtains, mobile platforms designed for the purpose, and additional plants and designs where needed. The municipal governments provided monobloc chairs for the use of town officials, visitors and guess. The general public used bleachers or watched standing on top of parked jeepneys or trucks. A technical crew that travelled with the group was responsible for installation of lights and sound requirements.

Cast dressing up 

“Moryonan” – dance drama on Marinduque’s famous Lenten tradition;
“Bulong” – dance-drama on teleportation/entry into another dimension, a belief still popular in far-flung areas; 
“Labanan sa Pulang Lupa” – dance-drama with original song on the “Battle of Pulang Lupa” with choral rendition by the Marinduque Provincial Capitol Choir; Mini-feature on one of the U.N. Millenium Development Goals, poverty alleviation (an NCCA requirement); 

BALANGAW CAST relaxing the morning after Viva Marinduque

“Kalutang” played by the Pangkat Kalutang group of Gasan;“Harana”, local songs of courtship; 

Well known director Frank Rivera was also invited to conduct a workshop for the dance-drama cast and the participating cultural groups. Altogether, the “Viva Marinduque” artistic and production staff were composed of 100 persons. During the performance in Buenavista, Mayor Ofelia Madrigal requested that some dancers who took part in their municipal showcase be also included in the Viva repertoire to perform some of the local dances, increasing the number of participants to 120.

Mogpog's "Battle of Bintakay"

 Mogpog came up as contribution with “Battle of Bintakay”, performed by DepEd teachers, about the revolutionary struggle in Mogpog during the Filipino-Spanish war. The story was presented from the point of view of Olympia Manuba, the local Gabriela Silang. The play also incorporated local dances, songs and cultural practices, and underscored the capacity of women to be so empowered as to join the fight for Inang Bayan.

In Boac, DepEd teachers presented a local folk dance; In Sta. Cruz the municipal choir rendered various local songs with an elderly veteran of “Harana” songs dishing out a few songs. In Buenavista, selected students from Buenavista National High School performed three local dances, including “Banderitas de Libas”, said to be a native dance that was eventually included in the Viva presentations. “Harana” songs complete with a movable ‘bahay kubo’ was likewise performed as part of the municipal contribution.

Torrijos' "Inalimango"

In Torrijos, DepEd teachers danced “Inalimango” as well as other lesser known folk dances. As most of the Viva performers were from Gasan including the Kalutang musicians, the municipal government helped in the technical aspects of the production from rehearsals, providing additional mobile platforms when necessary, providing additional meals and snacks to the cast and appointing a municipal staff as coordinator for all Gasan performers throughout the duration of the project (January-February).

Responsibility for lights and sound, production design, costumes and props, transportation, accommodation, meals and snacks, streamers and documentation were variously assumed by the provincial government and participating sponsors.

THE OTHER “ARAW NG MARINDUQUE” FESTIVITIES

“Viva Marinduque” was the most visible of all the Philippine Arts Festival-Araw ng Marinduque celebration because of its province-wide presence. There were other activities undertaken, however, to mark the event. 

Among them: “Barakalan at Turismo” (Trade, Tourism and Food Fair) a cooperative endeavor among the six municipalities of Marinduque, the Department of Trade and Industry and the provincial government. The exhibition site (Boac Covered Court), served as a big bazaar of quality Marinduque trade and tourism products and served as tourist information center as a whole. (Feb. 16-21, 2008)

“Quiz-Bee & Oratorical Contests” organized by the Department of Education, the Quiz-Bee on Marinduque’s culture and history, as well as the Oratorical Contest were undertaken for high school students in public and private schools. The latter’s theme was “Marinduque: Alab ng Puso ng Pilipinas”. DepEd took care of the responsibility for the guidelines and mechanics of the contests. Held at the Boac Covered Court. (Feb. 18, 2008)

“Harana”. As Marinduque is known to be one of the few remaining localities in the country where the traditional “Harana”, local serenade, is being practiced, or where the old songs remain popular to oldtimers, all municipalities showcased their versions of Harana to generate new interest in this tradition. Held at Sta. Cruz Municipal Court (Feb. 18, 2008).

National historians included Dr. Emmanuel F. Calairo, president of National Historical Association and Dr. Augusto V. De Viana, chief history researcher, National Historical Institute

“National Conference on Marinduque”. The former National Historical Institute identified eminent historians, researchers, anthropologists and archaeologists to present papers on various aspects of Marinduque’s culture from pre-Hispanic times to the present. 

History conference participants

Students, teachers, government officials, historic-cultural societies, researchers and media participated in this conference organized by the provincial government in cooperation with the National Historical Institute, National Museum, Philippine Historical Society, Department of Education, private schools and the six municipalities. Held at the Mogpog Central School. (Feb. 19-20, 2008).

Drum and Lyre Corps from OMPSA, Torrijos at the Boac Covered Court

“Grand Parada” (Street-Dancing Festival Showcase). Showcase of municipal festivals introduced in recent years to promote the province as a year-round tourist destination. Parade with all municipalities bringing their own festivals to the capital started from different designated areas in Boac Poblacion and converged at the Boac Covered Court. 

Participated in by the provincial government, the six municipalities, Phiippine National Police, Department of Education, other participating agencies, NGOs and the business community. 
Streets of Boac & Covered Court (Feb. 21, 2008 morning).

“Putong Festival”. Showcase of different “Putong” rituals from the six municipalities. Suceeding annual festivals were intended to be competitive, with traditional and modern categories. Organized by the Provincial Tourism Office in cooperation with the Municipal Government of Mogpog and the other five municipalities. Mogpog Covered Court (February 21, 2008 afternoon)

Unprecedented kudos to all individuals and orgs involved
Spreading cultural and historical awareness and continuously exploring, searching for that something that could help bring about unity and positive change in a small, poor, politically divided island-province, promoting a sense of oneness, a clearer sense of identity and direction among Marinduquenos, are tasks cultural workers and artists take upon themselves to undertake. 

It is believed that existing political structures could make it rather difficult for cultural undertakings of the same magnitude as the first "Araw ng Marinduque" to prosper. But the message of the Araw ng Marinduque celebration was clear. 

As the first Araw ng Marinduque celebration was concluded, a RESOLUTION was adopted by the SANGGUNIANG PANLALAWIGAN NG MARINDUQUE. It was to commend all the individuals behind the success of the two projects for such an achievement "despite the limited time and budget of the provincial government and the six municipalities... and even strengthened a collaborative effort with the national government offices/agencies and other organizations..."

The resolution stated that "despite the limited time and budget", the event "exuded the province's unique culture, customs and traditions which were hailed by most of those who witnessed the various activities and presentations".

The huge success of the Viva Marinduque project could be gleaned from the welcome decision of the NCCA for singular inclusion of Marinduque three (3) years in a row in the Commission's annual Philippine Arts Festival projects, and to prioritize cultural development in this island-province.

Full text of said SP Resolution adopted on motion of board member Eleuterio "Bong" Raza, Jr. follows. In a strong show of support and solidarity with all those involved in the project, said Resolution was "unanimously seconded" by all the members of the provincial council, and therefore may be described as unprecedented: 

Republic of the Philippines
PROVINCE OF MARINDUQUE
Boac

OFFICE OF THE SANGGUNIANG PANLALAWIGAN

EXCERPT FROM THE MINUTES
5th SPECIAL SESSION, 11th SANGGUNIANG PANLALAWIGAN
SUPREME COURT COMPOUND, BAGUIO CITY
FEBRUARY 24, 2008

Resolution No. 264 series 2008

RESOLUTION

COMMENDING ALL INDIVIDUALS, OFFICES, AGENCIES AND ORGANIZATIONS WHO CONTRIBUTED TO THE SUCCESS OF THE CELEBRATION OF THE “ARAW NG MARINDUQUE” 

WHEREAS, the recent celebration of the “Araw ng Marinduque”, the founding anniversary of the province, had exuded the province’s unique culture, customs and traditions which were hailed by most of those who witnessed the various activities and presentations relative to the same;
WHEREAS, despite the limited time and budget of the provincial government and the six municipalities, it did not constrain them from organizing a committee that made the event a success and even strengthened a collaborative effort with the national government offices/agencies and other organizations that led to such an achievement;
WHEREAS, the Sangguniang Panlalawigan is truly grateful to all individuals and/or organizations who in one way or another, and through their efforts, have contributed to the success of such an endeavour;
WHEREFORE, on motion of Hon. Eleuterio R. Raza, Jr. unanimously seconded, it was:
RESOLVED, as it is hereby resolved, to commend all individuals, offices/agencies and organizations who contributed to the success of the celebration of the “Araw ng Marinduque”.

RESOLVED, finally, that copy of this resolution be furnished the following for their information, to wit:
1. Provincial Governor
2. Provincial Administrator
3. Executive Assistant to the Governor
4. Mayor and SB of the 6 Municipalities
5. Organizing Committee through the Consultant for Tourism Affairs
6. Department of Education
7. Department of Trade and Industry
8. Marinduque State College and all School Participants
9. National Commission for Culture & the Arts
10. National Historical Commission
11. Department of Tourism
12. Sponsors, Donors, Guests, Others.

ADOPTED, this 24th day of February 2008 at Baguio City.
CERTIFIED CORRECT:
(Signed)
NIMFA M. CABRERA,Secretary, SP

ATTESTED:

(Signed)
TOMAS N. PIZARRO

VICE-GOVERNOR

Susong Dalaga Hill

TEATRO BALANGAW MARINDUQUE, ACT TEN, 2003-04

 2003-04

OH, BUENAVISTA

Moving on to Buenavista as part of his personal outreach program as a cultural worker, Obligacion organized “TEATRO MALINDUG” for students of Marinduque Victorian’s College and some out-of-school youth. The Buevavista audience was also entertained by “MARA UNDUK' in January 2003, and by Lent (April) “SUKAT IPAG-ALAB NG DAMDAMIN” a new dance drama was also successfully premiered. But this meant I had to stay for several months in beautiful Buenavista. 

A remounting of “BULONG” was also done to an enthralled audience in connection with the 

school’s foundation anniversary in February 2004.

An advocacy paper “MIMAROPA SUNRISE” with emphasis on cultural promotion and development and environmental awareness was edited by Obligacion during this period when he had no work.

But publishers eventually had to reckon with political pressure that no paper normally survives in Marinduque, and even one church-based monthly paper eventually had to fold up, giving up the publication after only six issues.

(to be continued)

TEATRO BALANGAW MARINDUQUE, ACT NINE, 2001-02

Act Nine, 2001-02 "BULONG"

AND MOVING ON TO GASAN

Local elections again swept the country in 2001. Newly elected mayor Vicky Lao-Lim of Gasan hired Obligacion who was out of work as her “culture and tourism secretary” (a casual position in the mayor’s office). The Gasan Culture & Arts Foundation (GASCUAF), also headed by the mayor was preparing for a new festival to be held on Easter Sunday. As consultant "GASANG-GASANG FESTIVAL” the name Obligacion had originally proposed to be the name of another festival for August ’02 in connection with the 1st Araw ng Gasan celebration was adopted as the official name of the Easter event.

A new theater group was formed by Obligacion for Gasan: ‘TEATRO GASENO’ based in Bangbang National High School. As there was a clamor for such a dance drama. “BULONG” was succesfully premiered with a standing ovation on August 18, 2002 at the still open court beside the municipal office. 

Noted local artist, Raymond C. Go, volunteered to paint the background mural used for the play, a major task and he also did the set design.

“Bulong” was later presented again for visiting tourists as part of ‘Lakbay Aral” tour and for a Christmas presentation in the same town. The lady mayor who was into the arts herself ensured sufficient funds for the project resulting in a “glossy” production that even the NBN-4 TV-crew raved about the dance-drama.

 

Immediately after watching the dance-drama on premiere night, Jan Engels, a Dutch national who has made Gasan his second home, expressed his desire to donate PHP 100,000 half of which should go to the school (Bangbang National High School and half to the Gasan Culture & Arts Foundation to support their culture and arts projects. It was done.

 "I never thought it was possible to come up with something like this in Marinduque!", said Engels. The next day he treated the entire cast and production staff, to a whole-day mountain resort picnic at his tropical paradise.

Throwback on Bulong (boo'-long) Marinduque folklore

A compilation of Marinduque's folklores was published in 1914, annotated by Henry Otley Beyer, an American anthropologist and professor at U.P. He spent most of his adult life teaching Philippine indigenous culture and became known as the Father of Philippine Anthropology.

Beyer's compilation of Marinduque folklores included stories on folk beliefs and cultural practices that prevailed on the island. It was our inspiration for the staging of "Bulong". Pronounced boo'-long (not bu-long' the Tagalog word for 'whisper'). Bulong is defined as the collective name of spirits that transport humans bodily into another place or dimension. Often on this island, old folks have endless stories to tell about them based on personal experiences.

In 2002, this blogger upon request of the mayor of Gasan for assistance in conceptualizing their first "Araw ng Gasan" celebration thought of staging a dance-drama titled 'Bulong' among other events. Belief in the spirit world and ancestral worship was of course, the order of the day when Gasan was 'discovered' by the Spaniards centuries before introduction of Christianity. 

"Bulong", written and directed by this blogger was thus a re-shaping of those traditional stories, presenting bits and pieces of historical data to help today's generation get inspired and to perhaps serve as a vehicle for reflection by those who dwell on this stuff. It has since been presented in all of Marinduque's six municipalities as part of an NCCA-PGM project.

'BULONG' SYNOPSIS:

Teen-aged Salve, catching 'bilabila' (butterflies) finds herself in a half-awake, half dream state and sees strange creatures, the elemental spirits, around her and is at once taken to another world. That's the world of spirits and strange creatures we've all heard about on this island. There she's also brought to a door that leads to the island's prehistory.

Salve encounters 'patianacs' (a kind of scary crow), asuangs, tikbalangs, swaying bamboo trees, duwendes, enkantos.. The elemental Bulong spirits take her to the enkanto until a tug-of-war between the menacing asuangs and friendly spirits ensue, thus saving Salve. The enkantada (known as 'white lady' too), enters and since Salve is a mortal decides to take the girl to the world of those who were once mortals, the world of Salve's ancestors. Here the Katalona of "Mara Unduk" fame is seen still wielding power. Salve becomes witness to the romance and tragedy of the Alon-Baylana-Kidlat (Katutubos), love triangle and its tragic end. She also gets to see the island's Pastores anito for the first time.

Salve sees how intruders from other shores supplanted a new set of beliefs to those of her ancestors by the power of the sword and the cross. As the ancient people cry in protest Salve begins to understand why she was taken there. The elemental spirits free her at last, their mission accomplished.

But the enkanto, so smitten with Salve, gets in the way. He connives with the asuangs and ugly characters for her capture. With no one to save her except herself Salve uses the folk formula to set herself free at last from her new abductors.

(to be continued)