PAWIKAN FESTIVAL (WORKING BACKWARDS)

Pawikan Festival participants

Now that it's Christmas, I get the much needed relaxation time I've been longing for in weeks. And so, it's apropos to catch up on my much delayed blog entries. I have tried to post as regularly as I can but the hectic pace of my work just won't afford me the few precious minutes to compose my blog stories. So permit me to work my way backwards and try to recall the assignments I have taken on.

opening ceremonies by the governor of  Bataan

PAWIKAN  FESTIVAL

In performance

I was honored to have been invited to a seminar/workshop on production design conducted by the Bataan Tourism office last year. The training module was organized by Nilo San Agustin of the Department of Tourism. Invited as SME's (subject matter experts) were: Renato del Rosario for Music, Armando Sta. Ana for Stage Direction, Nonoy Froilan for Choreography and myself for Production Design.

Filipiniana costume

The objective of the workshop was for us to impart our knowledge to representatives of thirteen Bataan municipalities who all participate in the yearly Pawikan Festival. Pawikan is a Filipino term for turtle. Olive Riddley turtles to be exact! There was a whole gamut of activities lined up for the festival. Included in the roster of events were beach volley, on the spot painting competition, installation art from recycled materials, the street dancing competition and the obligatory releasing of turtle hatchlings into the west Philippine sea.

Pawikans in the wings

The long stretch of beach in Morong, Bataan is a nesting ground for turtles. The Municipality of Morong has undertaken the gargantuan task of protecting these turtles from poachers and has built a festival around it. This is in line with their advocacy of educating  the majority in the aspect of environmental awareness and protectionism for endangered sea turtles.

billowing skirts

The Pawikan Conservation Facility in Morong gathers and protects turtle eggs laid on the shoreline and incubates these turtle eggs until they are mature enough for eventual release into the wild. At times, they are also able to rescue turtles caught in fish nets and stranded on the shore. These mature turtles, on the other hand are nursed back to health before they are released into the deep blue.

men's ensemble

Unfortunately, when we were invited for the seminar last year, the festival had just ended. We were not able to witness how the street dancing competition was conducted. This year, having been invited as judges for the street dancing competition, I was quite happy to see that our inputs on production design and choreography were incorporated into the dance presentations. the beach front came alive with contingents from the municipalities of Bataan.

little hatchlings

Each contingent had forty participants outfitted as dancers, plus a few more who were in the production team as set riggers and  production assistants. It was a day long event highlighting the importance of saving the ecological balance, protecting the endangered sea turtle and of course, promoting Bataan as a natural sanctuary of riddley turtles, whose numbers have been steadily dwindling over the years until Morong's authority took action.

impressive backdrop

The poachers were kept at bay, the riddley turtles returned and are starting to multiply again, the local residents have increased their means of livelihood and Bataan's reputation and tourism draw has been enhanced. Judging by the pictures, it would be safe to say that everyone had a grand time. I hope to be back again next year to see how the Pawikan Festival continues to evolve.

Turtles galore

PREENING AT PUNING'S

The boys of Aklan Catholic College

On a recent assignment with Aklan Catholic College, I brought the students to Puning's Hot Spring and Spa. The idea was a brainchild of both Ms Portia Robado and Ms Aiza Orbista Nahil.

Main entrance to the spa

The Aklan Catholic College has immersion classes in which the students are brought to Manila to experience and learn from hands-on experiences as they travel from one site to another. Puning's Spa was a welcome treat for the students.

beauty amidst rugged countryside

We traveled all the way to Pampanga, leaving our buses at the edge of the gate towards  Mt. Pinatubo in Clark Air Base. The  air base is a vestige of the American Occupation in Manila. During the bombing of Manila by the Japanese, Clark Air Base was one of the first casualties as the Japanese knew the American planes were in Clark. There is a small patch of cemetery where the victims of the war were buried and honored. But that's another story...

4x4 ride in the gorge

From the pick up point the students boarded into 4x4's and off we roared into the wilderness of Pinatubo. Nobody had known there was a volcano in the area until Mt. Pinatubo erupted in 1996. Lahar and pyroclastic material engulfed most of the province of Pampanga, completely burying towns in its path.

Tiers of hot spring pools

But out of the ashes, pockets of beauty emerged and an entriprising Korean married to a Filipina wanted to take advantage of the hot springs emanating from the volcano's vents. Puning's was born! The name itself is taken from the Aeta word "punang" meaning tree. True enough, if you leave nature alone, it will come back!

From Lahar flows, lush greenery emerged and as the 4x4's roared through the gorges, we experienced such a rush, the boys at the back of the jeep screamed in delight. The spa has three stations and we spent a few hours in the station three which had hot water pools fed by the vents. The pools were nestled among the rocks and water cascaded to other parts of the station. Careful not to get enticed into staying under the waterfall... it's 70 degrees hot!

70 degree waterfall

After spending the time interacting with some Korean guests, the group backtracked to Station 2 aboard the 4x4's again careening between the mountains. Station 2 is where they were buried up to their neck in warm sand for 30 minutes. The  treatment ends with the kids being slathered in a mudpack of cool volcanic mud to close and tighten the pores.

mudpack treatment

After a cold shower, we went back to Station 1 where tables were laid out for a sumptuous fusion of Filipino and Korean food. All the staff were friendly residents of the Pinatubo forest area, now employed by the establishment. It's was interesting to hear their stories of the volcanic eruption that nearly wiped out their ancestral territory. Currently, the Pinatubo area falls under the jurisdiction of Tarlac. By three p.m, we headed back to Manila and the kids were spent and slept along the way...

station 1 pavillon

THE OTHER RM AWARDEES 2015

Ramon Magsaysay awardees and their families enjoying the carabao cart ride

Alright, It's another one of those long delayed blog entries! My last entry was about Ligaya Fernando-Amilbangsa, who immortalized the importance of our very own Dance form - Pangalay. There wer other Asians who completed the roster of the Ramon Magsaysay awardees. The Ramon Magsaysay Foundation feted the awardeesand their families to a fun-filled day at Villa Escudero.

Groupie with Grace Amilbangsa and Kyaw Thu and his family

Two of this year's awardees are from India. SANJIV CHATURVEDI is recognized for his exemplary counrage and integrity in exposing corruption in India and for instituting policies for change for the benefit of his community in India.

Sanjiv Chaturvedi in white shirt

The other awardee from India is ANSHU GUPTA. He was honored for his creative and enterprising spirit and in changing the culture of giving in India, realizing that the true spirit of giving always "respects and preserves human dignity". He is also recognized for his leadership in treating cloth as a sustainable resource for the poor in India.

Anshu Gupta and family

The other awardee is from Myanmar... KYAW THU. Despite his fame in his native country, he used his status as a celebrity in addressing the needs of both living and dead countrymen. He channeled his status as a star in Myanmar in serviing the greater good.

Kyaw Thu

And finally, from Laos, KOMMALY CHANTHAVONG. She is honored for her tireless efforts in reviving, and developing the ancient Laotian art of silk weaving. and creating livelihood for countless war-displaced women of Laos and thus preserving the dying art of  silk weaving.

Kommaly Chnthavhong and her daughter

The whole day affair at Villa Escudero was loads of fun. It was also significant in that the awardees and their families were able to experience the local cuisine and see how the farm works  as well. The way back to Manila was spent  recalling fun memories with Grace Amilbangsa, whom I've spent time with while in the performing arts. Other than that, the built in blasting Karaoke on the bus was  put to good use by the family members and staff of Ramon Magsaysay awardees. I hope I get to do it again next year...

SAVING SARIAYA

Official Logo of PAMANLAHI

To see one person fight for his heritage is admirable... to see a community do the same thing is so freakin' AWESOME!!! 

Ms Marquez receiving PAMANLAHI's position letter as board-members look on

Last Tuesday, 15, September, five members of AHP who concurrently serve as members of the board of DAKILA'NG PAMANA NG LAHI took the time to drive to Sariaya, Quezon to express support for the preservation of Sariaya's heritage zone and to take part in the mediation conference between the Department of Public Works and Highways, The Local Govenrment unit and the stakeholders of Sariaya.

Ka Lino and Mye Atienza, Ms Boots Mejia, Ms Febe Sevilla and myself with Ms Rina Marquez

This is actually, also the first official act undertaken by PAMANLAHI as a duly registered, fully functioning NGO. A letter of support for the work stoppage on the construction of loading bays along the heritage zone of Sariaya would have to be submitted to the municipal hall, the mayor's office, the NCCA, and Sariaya's stakeholders.

groupie at the Sala of the Enriquez house

Our effort was duly recognized and appreciated by one of the home-owners in Sariaya, Rina Marquez and her mother who live in the Natalio Enriquez heritage home right beside the Church. The owners graciously welcomed us into their well-appointed mansion. The imposing structure was designed by Andres Luna de San Pedro and is prominently located across the town plaza, off tangent to the municipal hall (also by the same architect.) The Town Plaza was actually land owned by the church which was donated to the LGU for public use. The monument of Jose Rizal along with a bandstand flanked by caryatids has all but been obliterated from view by a sports center and by a playground. 

Plaza de Shalom is behind this beautiful heritage home 

By two p.m. an expected audience of 20+ had bloomed to 50 plus homeowners and stakeholders of the heritage zone of Sariaya, Quezon. Physical arrangements had to be augmented to accommodate everyone who wanted their two-cents worth to be heard. The National Commission for Culture and the Arts' Atty. Trixie Angeles was present as mediating officer between local government, DPWH and homeowners. The sole purpose of the meeting was to find a common ground at which everyone represented will be happy with the options presented. The cease and desist order for road widening had been issued. However, DPWH and local government were pushing for the construction of loading bays essentially to "alleviate traffic flow along the heritage zone.

The venue setting

As fate would have it, the stakeholders opposed the construction of loading bays in the area in convincing fashion. DPWH, represented by a certain Engr. Racelis has reiterated that all road widening projects along the heritage zone has been discontinued but DPWH is appealing for the construction of the loading bays at certain points along the highway. Rina Marquez presented the detrimental effects of loading bays along the heritage cluster in a study done by no less than Toti Villalon along with UP engineering and architectural stalwarts. And since it was a mediation conference, the stakeholders were enjoined to find ideal alternative areas where the loading bays could be constructed without endangering the homes, causing anxiety and distrust among home-owners, and avoiding misgivings towards the local government. 

Home-owners and Mye Atienza intently participating in the mediation

Another mediation conference to present these alternative sites is scheduled for the 26th of October, 2015. By then, it is hoped all parties would amicably settle the issue for good. Failure to find common ground among all parties concerned would result in the case reverting back to a trial in court. The home-owners were adamant in voicing their concern as they were often not informed by the LGU or are commonly left out in the dark as to public projects were concerned. This far into the issue, stakeholders claim no plans were publicly posted either in the municipal hall nor bulletin boards. An irate municipal administrator even went so far as lambasting a certain Mr De Luna who was a member of Sariaya's Heritage Preservation group. It would be worth noting that a mediation is not a trial, ergo nothing expressed in mediation can be used as evidence. So, trying to convince an already emotional group of homeowners by slinging mud at "one of their own" does not make for good governance. What was he thinking?

PANGALAY PRIESTESS

Madam Ligaya Fernando-Amilbangsa

I have devoted practically two thirds of my life to dance. From time to time, I get to dabble in a dance form I have no experience in because sometimes contemporary choreographers from Ballet Philippines invite traditional dancers as sources of inspiration they can "borrow" movement from. I put the word borrow in quotes as indigenous movement is far removed from the dance form I grew up in.

Imitating an Albatross

Fortunately, Ballet Philippines has nurtured in its dancers a deep love for both classical Ballet and contemporary dance techniques transposing historical accounts, Filipino legends and myths into uniquely Filipino works of art. This year however, my interest in the performing arts has been rekindled with the conferment of the Ramon Magsaysay Award to LIGAYA FERNANDO-AMILBANGSA. Madam Amilbangsa has been cited for her unwavering crusade in preserving an endangered artistic heritage of southern Philippines - the PANGALAY.

Preening her feathers

What thrills me most about her work is that I have always admired people who can do indigenous dances such as the Pangalay. I didn't think I could do it... It can be strenuous after a few minutes. Fact is, I have always known about her work for decades. I am personal friends with her daughter Grace and it was a blast spending time with her again, if only briefly. When I was a lot younger, I used to hang out with Grace. What eludes me is why I never, ever took the time to learn how to do Pangalay in all its many myriad forms.

Grace Amilbangsa and moi catching up

The Ramon Magsaysay Awards Foundation organized a lecture demo for all of the awardees this year. I made it a point to attend Madam Amilbangsa's lecture at the RM Building along Roxas Bouleard on 2 September, 2015. I was pleasantly surprised that the hall was packed with students and a smattering of people like me who weren't as young but perhaps, more passionate about heritage preservation. The lecture was interspersed with pieces choreographed by Mrs. Amilbangsa herself; one choreographed to Yoyoy Villame's recording even. Of particular interest to me was the piece performed to Lucio San Pedro's "Sa Ugoy ng Duyan" done in the pangalay idiom. I refer to it as a dance idiom because it is unique to the southern Philippines and a few Southeast Asian countries like Bali,Indonesia, Thailand, Southern India and Malaysia.

Cecilia Garucho giving annotation to Pangalay movement

 Pangalay is an ancient dance form that ante dates the arrival of Islam (ca.14th century) in the country. This dance has roots among the Badjao, Jama Mapun, Samal and Tausug tribes of Mindanao. Madam Amilbangsa asked the audience to get up from their seats and learn the most basic rudiment of the dance form... BREATHING! Madam believes that if you can breathe (and who'd want to hold their breath?), you can dance Pangalay. And that's where I have the problem. Decades of classical ballet training run counter to learning Pangalay. In ballet, one is supposed to keep the spine pulled up to maximize that long lean look and in proper alignment, butt tucked in, core muscles strong and engaged, shoulder blades expanded nearly touching each other, arms curved and tense to prepare for action, head and chin angled to look up at the most expensive seats in the theater. In Pangalay, your knees are bent, your torso is set forward, arms  bent and sticking out to the sides, nape and head angled forward. Complete opposite of what I've been trained to do. 

Pangalay ensemble members 

She relates how, as a young girl attending a school fair at the Far Eastern University, she visited a booth decorated in southern Philippine finery for a Muslim wedding. She met the young gentleman who was responsible for the authentic array and even asked for his autograph. He left a lasting impression on her.  Little did she know, he was smitten as well. She ended up marrying her Muslim admirer and re-located to Tawi-Tawi.  They attended a Muslim wedding ceremony and part of the entertainment was this pangalay dancer. Her life was never the same!

Brass nails enhance the hand movements

It was there in Sulu that she honed her technique and came up with the Amilbangsa Instruction Method. After all, it is useless to be perfect at something and not  be able to pass it on. She has formed a dance troupe that goes all over the world promoting Pangalay. Like any advocacy, it needs structure to hold the members together. They have a board of trustees that oversees the group's activities and keeps them going. Madam Amilbangsa does the lectures and the choreography and continues to dance Pangalay at the youthful age of seventy two. Just as she was transfixed while watching Pangalay many moons ago,  Ligaya Fernando-Amilbangsa continues to dance to the beat of her own inner rhythm and vows to preserve Pangalay as younger dancers learn how to move in hypnotic pace with their own breath...

the future of Pangalay

SEEKING ETHNIC INSPIRATION

B'laan elders

It's been a while since I've posted a blog entryioI realize that even if I'm online from time to time, it becomes difficult  to upload and post articles to my blog because of the effects of bad weather on the information highway. Take it from me, the pace is dragging especially when one is uploading pictures.

Tabih cloth

In any case, I have been busy: with work... with life... and the many myriad, minutae that comes to my attention each day. Lately, I've been working on a school production slated for January 2016. Yes, it takes at least six months from concept to actual execution of costumes. Even then, when the cast gets on stage, one may have to tweak the designs a little bit if only to make the participants look good.

Tabih panel ready for the market

In previous posts on this blog, I wrote about Senator Loren Legarda's efforts at bringing our local fabrics to the fore through a special exhibit of Philippine hand made textiles. The exhibit was entitled HABI. Indigenous fabric is painstakingly difficult to produce because of the seemingly endless man-hours it takes to make one panel of fabric. I bring this up because my production uses some ethnic influence in manner of dress for both boys and girls. The music is mostly OPM (that's Original Pinoy Music, for the unitiated). So what do I do? I turn to our indigenous tribes for that unmistakable Filino touch.

Bonifacio Guerrero with B'laan school teacher  who teaches native dance to kids

I have an ally on this in the person of an apprentice of Ballet Philippines, dance major at the University of the Philippines and graduating student Bonifacio Guerrero, who is currently working on his thesis as a pre-requisite to earning his degree. 

Tabih specimen

The two of us were inspired by the B'laan: he for their dance movement, I for their clothing! B'laan actually springs from the root word "bla" meaning opposing or opponent and the suffix "an" denotes the people.

Tabih composite weave with border

The B'laan are a proud indigenous people of southern Mindanao. They are mostly situated around the picturesque Lake Seibu and are conveniently, neighbors to the T'boli. The B'laan used to occupy most of the area of General Santos City, formerly known as Koronadal. The name itself is taken from the native B'laan language. Koron means cogon grass and nadal means plains - which is actually a pictographic use of language to describe the area of their location. Eventually, the tribes were pushed back to the hinterlands when Gen. Santos City was established in 1939. The proud B'laan now occupy areas in Lake Seibu, South Cotabato, Sarangani, southeastern parts of Davao, and around Lake Buluan and North Cotabato.

B'laan weavers

Their manner of dress consists of a cloth woven on backstrap looms called tabih; akin to the T'nalak of the T'boli. Their blouses are heavily embroidered by utilizing hand embroidered geometric patterns. Women are also known to wear layers of glass beads on their  neck and waist bands made up of either colorful beads or thousands of links of hand forged brass with tassels of tiny bells. This is how you know they are arriving as they make tinkling sounds from far away.  The men wear vests and sawal (pants done in tabih weave) and sometimes a head scarf called tubaw. 

more complicated designs

The Tabih is different from t'nalak in the sense that the colors and patterns deviate strongly from the dream weavers of the T'boli. One sees more of the red dyes taken from local plants giving it a more vibrant hue. There are also no animated forms of lizards and humans that are sometimes included in t'nalak. Thanks to an exchange of ideas with Bonifacio Guerrero, I veered towards using that same kind of colorful influence for my production for an exclusive Catholic school in the south of Manila. 

Complicated antique patterns on a panel

*Pictures of antique B'lann tabih collection of RMMC by Michelle Lopez Solon through Bonnie Guerrero