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