[Imc-marinduque] Fwd: performing arts

[jean makisig]

---------- Forwarded message ----------
From: jean makisig <mscpublication at gmail.com>
Date: Wed, Aug 3, 2011 at 3:14 PM
Subject: performing arts
To: Imc-marinduque <Imc-marinduque at lists.indymedia.org>


MONDAY, APRIL 11, 2005
TEATRO BALANGAW: Quo Vadis?
2005: QUO VADIS BALANGAW?

There is a notion that community theaters like those in America 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. (to be
continued)
Posted by Eli at 1:11 AM 16 comments
TEATRO BALANGAW Act Seven 2003-2004
Act Seven 2003-2004

Moving on to Buenavista as part of his personal outreach program as
cultural worker, Obligacion organized “TEATRO MALINDUG” for students
of Marinduque Victorian’s College and some out-of-school youth. “MARA
UNDUK” was presented in January 2003, and by Lent “SUKAT IPAG-ALAB NG
DAMDAMIN” (a dance-drama) was also premiered. A remounting of “BULONG”
was successfully done 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. The publishers eventually had to reckon
with political pressure (no paper survives in Marinduque and even a
church-based monthly paper eventually had to fold up) giving up the
monthly publication after only six issues.
Posted by Eli at 1:09 AM 0 comments
TEATRO BALANGAW Act Six 2001-2002
Act Six 2001-2002

MOVING ON TO GASAN & BUENAVISTA

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. “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. “BULONG” was premiered
on August 18, 2002 at the open court beside the municipal office.
Noted artist, Raymond C. Go, painted the background mural for the play
and did the set design. “Bulong” was 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” presentation that even the NBN-4 TV-crew raved about the
dance-drama. Immediately after seing 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 to the Gasan
Culture & Arts Foundation to continue their cultural programs. Engels
invited the entire cast and production staff of Teatro Gaseno to a
cast party in his 'Hidden Paradise' resort house. "It (the play) was
just fantastic! I never thought it was possible to put up something
like that in Marinduque!", he ecstatically raved.

Excerpts of the play were presented in two national television
programs. (“Damayan” and “Teledyaryo“ and featured an interview with
the artistic director (Obligacion).
Posted by Eli at 1:07 AM 0 comments
TEATRO BALANGAW Act Five 1999-2000
Act Five 1999-2000

The change in provincial leadership marked by what was described as
the “most expensive election in local history” with the Church issuing
a pastoral letter denouncing “massive vote-buying” left those engaged
in cultural work largely marginalized. In 1997, an attempt to organize
a culture and arts council “Sining Marinduque” was initiated by
Obligacion and was supported by the Cultural Center of the Philippines
(CCP) sending representatives to assist in the organizational work. An
interim chairman was elected, Mrs. Juanita Roque-Enriquez, who also
headed the Provincial Centennial Committee at the time.

An attempt to re-organize/re-strengthen the said council was initiated
in 2000 by Obligacion and Virtusio after informal talks with visiting
NCCA officials. Commission funds were earmarked for what was now
billed as “an NCCA-initiated” project with Virtusio as official
coordinator for the NCCA. (He had formed by then the ‘cultural arm’ of
the Aglipayan Church “Sentrong Pangkulturang Pilipinista”, with
himself as president, the mayor, several priests as trustees and
Virtusio’s sister from the NCCA as treasurer and trustee).

The Congressman of Marinduque represented Congress in the NCCA board
as commissioner. In a letter addressed to the commissioner, he
demanded that the project should be implemented through the governor’s
office, (the governor was his mother), a move that apparently did not
sit well with some commission officers, particularly those who had a
direct hand in the move. Politics within the commission ensured the
instant death of the project. (More on this).
Posted by Eli at 1:03 AM 0 comments
TEATRO BALANGAW Act Four 1997-1998
Act Four 1997-1998.

TAKING THE REGION

The Marinduque Office of the Department of Education, Culture & Sports
(DECS), approached Obligacion to handle the provincial drama entry to
the regional competition on culture & the arts. A revised version of
“Mis Lagrimas A Ti”, now retitled “HIMAGSIK NG BUDHI” was brought to
San Jose, Batangas for the competition with some 25 actors from MNHS
and ICC. Virtusio was tapped to direct the play that was awarded 2nd
runner-up.

The Philippine Independent Church (PIC), in Gasan in cooperation with
the municipal government was to handle the “Pugutan” presentation in
1997. The mayor approached Obligacion for assistance in terms of
provincial funding and the conduct of the activities. He introduced
Virtusio to the mayor and the parish priest recommending him to direct
their Holy Week play. PIC commissioned Obligacion to write a new play
on the Passion of Christ and the involvement of Longinus. Apparently
the Celso Carunungan script introduced in the 70s had been altered
many times by whoever organized the annual “Pugutan” and now
considered incoherent.

On condition that the “Pugutan” play would not take the place of the
Easter Sunday street festival observed in Gasan as was the experience
in Boac, I agreed to write it, in consultation with Fr. Arevalo of PIC
who provided some literature. “SA NGALAN NG KATOTOHANAN" (changed to
“KASAYSAYAN NI LONGHINO”) was finished by end of January 1997 in time
for the start of rehearsals the following month. Curiously, however,
the play’s programme drafted by the director was an insult to the
playwright. The name of the priest in his capacity as “Katulong sa
Produksyon” (Production Assistant), and that of the director in huge
letters occupied a wide space on top of the page. In small letters
somewhere under the names and positions of the production and
technical staff was the following entry: “Dialogues by:Eli
Obligacion”.

A couple of years later the same script, now corrupted, would be
presented several times elsewhere in Marinduque by a new playwright:
Virtusio.

The Department of Agrarian Reform (DAR) then sponsored a national
competition on theater arts for the promotion of the government’s land
reform program. For the regional competition Obligacion accepted the
challenge to write and direct a new play based on a storyline provided
by DAR and adopted to the local situation. Students of Cawit National
High School who were mostly children of farmers and fishermen were the
choice as players. They were given a new identity as “BALANGAI
PEOPLE’S THEATER”. “ARKO”, Marinduque’s entry was awarded 2nd
runner-up in the competition participated in by the region’s eleven
(11) provinces. The winning play was presented in Boac upon the
invitation of the municipal government for the celebration of the 3rd
anniversary of the Marcopper mining disaster, and for the
municipality’s Philippine centennial celebration at the Boac riverside
arena.

VIDEO & BOOK PROJECT WITH PETA AND IDEA (NETHERLANDS)

In May 1997 the Philippine Educational Theater Association (PETA) and
Balangaw undertook a drama project (opposed by Mandia who was negative
about PETA), on the issue of the Marcopper mine spillage. PETA is the
biggest theater institution in the country with over two decades of
experience in developing acting techniques for community-based theater
and had produced the biggest names in Philippine theater, movie and
television.

Balangaw members underwent training under PETA’s basic integrated
theater arts workshop (BITAW) program for five days, culminating in
the presentation of “PUTIK SA KARAMIHAN, GINTO SA IILAN”. The project
that involved interviews with the Balangaw cast and some of their
parents was documented on film by Oceanic Films for showing in
European cable-TV under the title “Swapping Stories”. Facilitators
were Ernie Cloma, Dessa Quesada, (both of PETA), and Obligacion.

A book entitled “COMMUNITY THEATER: GLOBAL PERSPECTIVES” by Eugene van
Erven (Netherlands), a renowned expert on community theater, was later
published. It detailed a case study made on Balangaw (for Philippines)
in 1997, together with individual stories of community theaters from
five other countries namely Kenya, Australia, Netherlands, U.S., and
Costa Rica.

Chapter 1 of the book about ‘Philippine Community Theater in the 90s
and a Case Study on Teatro Balangaw, Marinduque’ could be browsed at
the following link: Global Perspectives.
Posted by Eli at 12:59 AM 0 comments
TEATRO BALANGAW Act Three 1996
Act Three: 1995-1996

After watching a performance at Travelmart (SM Manila), of Iloilo’s
Dagyaw” and a dance-drama performed by the Leyte Dance Company group
of Jess de Paz, Obligacion and Mariposque agreed that it was not
impossible for Balangaw to come up with a similar winner. “Mara Unduk”
could be re-staged so that the group had a ready material it could
bring anywhere outside Marinduque. It was evident, however, that the
group could not take any chance with another “hoy, tama na ‘yan!”
loser.
The verbal exchange was between the founder of Balangaw and Mandia
this time. The latter strongly opposed the idea of staging a new Mara
Unduk though he was preoccupied with work in Manila.

“As a colleague, I only ask one word for you to say: “GO!”, said the
founder in exasperation after a long, heated discussion that lasted
from night till morning. They were long-time friends yet the standing
rule must now be upheld: “Nobody is indispensable in theater”.

“Who is going to direct it? Who is going to choreograph it?”, Mandia asked.

“I am in charge. They will be found!”

Roni Abario of Mindoro, a stage actor who also worked as dubbing
supervisor at ABS-CBN like Mandia was welcomed by Eli and Rudi to the
Balangaw home.

“Tinanong ako ni Danny kung paano ko gagawin ang mga sayaw ng Mara
Unduk. Nakita ko ang video nung ginawa niya na hindi ko maintindihan.
Ang sabi ko lang, ‘basta mas maganda diyan’!” Roni said.

“MARA UNDUK” became Balangaw’s biggest winner. This collaborative work
among Abario, Mariposque and Obligacion was good for over 30
performances in Boac and Gasan. Within one year, invitational
performances at Nayong Pilipino, Museong Pambata and Raha Sulaiman
Theater for the Philippine Educational Theater Association
(PETA)-sponsored National Youth Theater Festival were concluded.

Gil Virtusio who was visiting Marinduque was not impressed with the
costumes and volunteered to do the production design for the Fort
Santiago presentation. Montenegro offered his spacious office with a
huge rehearsal hall at Espana to serve as the group’s quarters.

“May I see it?”, asked Mandia who came after the final rehearsal at
the studio. The group had seen to it that he would not be allowed to
make ‘kuransa’ (theater lingo for the act of somebody messing up to
feel some imagined power) or to have any hand in the project.

“No, after the long travel the cast is tired.”, Obligacion replied.

“What can I do to help?”, Mandia asked.

“You, perhaps, could take charge of the numbered music tapes tomorrow!”
With an audience consisting of young artists from different schools
and universities in Manila and nearby provinces, cheering as “Mara
Unduk” was performed, Balangaw members felt they finally made it to
the ‘big theater’.

At curtain call, Mandia, unbidden, went up the stage to join Roni and
Rudi who were offered a bouquet of flowers each. Eli and Gil who were
half their way froze at such display of audacity. Mandia took the
flowers, grabbed the microphone and made an exhortation for
“kabataan”. Goose-pimpled Eli and Gil gaped in disbelief and just sat
on the floor covering their faces.

Obligacion’s appointment as the newly-elected governor’s private
secretary and ‘cultural director’ for the province paved the way for
cultural challenges. In this new capacity, projects were undertaken on
a broader scale in all the arts. The concept of “putting Marinduque
back in the cultural and tourism map” found official support as it was
also consistent with a national call for the promotion of culture and
the arts and similar undertakings in preparation for the Philippine
centennial.

Provincial competitions in culture and the arts (on-the-spot painting,
choral competitions, sabayang bigkasan, essay-writing, folk and modern
dance competitions, kundiman contests, band and lyre competitions),
were initiated by Obligacion as official projects, new festivals
organized and traditional ones revitalized (“Tubungan Festival,
“Kalutangan”, “Moryonan”, “Moro Moro” in Mogpog, “Pugutan” in Gasan,
“Freedom Run”), and provincial participation in regional and national
cultural events ensured (“Southern Tagalog Festival”, “Travelmart”,
“Rizal Park Independence Day Celebration”, “Southern Tagalog Kundiman
Fiesta” where Marinduque played host, “Daupan II Festival for the
Centennial of Philippine Revolution”).
Balangaw’s “Mara Unduk” dance-drama was kept alive and constantly
improved with new dancers and actors joining the ever-changing faces
of chorus dancers.

The Philippine Rural Reconstruction Movement (PRRM) commissioned
Obligacion for a play about local heroes to be presented at the DAUPAN
II Festival for the Centennial of Philippine Revolution. “MIS LAGRIMAS
A TI” (My Tears to Thee), based on the revolutionary exploits of
Herminigildo Flores, Remigio Medina, Cayetano Vida (“Alapaap”, and
Maximo Abad, was completed and premiered at Gasan’s covered court. The
audience consisted of festival participants from all over the country.
Students of Immaculate Conception College (ICC) went through auditions
for the various roles. PETA’s Jonjon Tuazon directed the play.
Posted by Eli at 12:43 AM 0 comments
TEATRO BALANGAW Act Two: 1994-1995

Act Two: 1994-1995

Christmas 1993 and Holy Week 1994 came to pass, the group slumbered.
In May Montenegro as ‘hermano’ in Lupac proposed a play production.
Mandia came with ready scripts by ‘anonymous’ authors of two fairly
well-known comedy plays popular in city schools: “Manggagahasa Kami sa
Isang Linggo”, and “Bakit Babae ang Naghuhugas ng Pinggan”. Stage
actors/Dubbers of cartoon programs who worked with Mandia arrived with
him to act out the roles for the first play. The second was to be
performed by selected local talents.

“Manggagahasa..” was a total disaster. The classic “Hoy! Tama na ‘Yan”
(Hey! Enough of that!") polluted the air again, the audience made no
effort to hide their disinterest, such that the actors were too
embarrassed to take center stage for the final bow. The second comedy
with characters that looked like they came straight from comic books
managed to elicite laughter from the slapstick comedy. A good
‘workshop’ exercise.

NO MORE ELI PLAYS FOR MANDIA.

It was evident that for some theater practitioners, for as long as a
play is presented to an audience, that could already be considered
success (“basta naipalabas!”). It had nothing to do with whether or
not they understood it. But the rest of Balangaw disagreed with that
crazy concept. We had not existed to serve somebody's bloated ego and
grand illusions of one being 'god of theater', a phrase off and on
repeated before the young talents to establish artistic authority.
Really a phrase used by amateurs.

Obligacion proposed to Balangaw member, Rudy Mariposque (a.k.a. Rudi
Mariposky), to take up the challenge of directing a new play this time
whose only aim was to draw from the audience “a long and rousing
applause”.

“Only if no one will claim credit for my artistic directing!”, he
demanded. The simple deal was closed.

MARIPOSQUE AS NEW ARTISTIC DIRECTOR.

“ISANG ARAW SA HISTORY” (PAYE IN RETROSPECT) by Obligacion came into
being. The play had a campus and classroom setting. The main
protagonists were high-school students and their teacher in History
subject. The students were asked to write individual essays on “What
the Battle of Paye Means to Me”. The inconsistencies in certain claims
and unlikelihood of such a ‘battle’ occurring in Sitio Paye, Balimbing
during the Filipino-American war were each laid bare by the students
before their alcoholic History teacher. He was the principal
researcher/historian on the subject, and the students just came short
of accusing him of ‘historical and journalistic dishonesty’. Musical
excerpts from “Labanan sa Paye”, were also utilized to break the
scenes.

The covered plaza was filled with people. Boy and Girl Scouts from all
over the province who were encamped at the Paye site were brought by
trucks hired by their organizations to watch. The receptive audience
applauded at every scene. Then, at the curtain call it came: “the
long, rousing applause!”. So startled was Rudy, the audience wouldn’t
stop cheering that he ran to Eli asking: “What are we supposed to do
now?”

“Well, you have to say something, probably introduce every single
player this time?” The applause was louder when he did. Then the group
learned, and everyone involved felt strongly what “critical acclaim”
meant - for the first time!

“Eli, nangyari ‘yung gusto mo!”, an ecstatic Dindo Asuncion who
arranged the music and took care of the lights said.

Later the Sangguniang Bayan of Boac had a deliberation on the Paye
controversy presented in the play and formed a “fact-finding
committee” to ferret out the truth. It, however, seemed natural for
such a committee to die a natural death. Politics.

LINK

VIRTUSIO AS ‘GUEST’ DIRECTOR.

In March 1995, Gil Virtusio from Batangas who had joined the ‘93
“Moryonan” production as an actor came to Bahaghari unexpectedly,
thinking that with a few weeks to Ash Wednesday, Balangaw was in the
middle of a new “Moryonan” play.

“But you did not present anything for Holy Week last year!”, he
argued, “and this would be the second year in a row now...”

“Are you willing to direct a play this time?”, Eli asked.

“You write a new script!”, was Gil's daring answer.

“Who will be our actors? School’s over! Many are vacationing in
Manila. And we have no money!”, that was Rudy.

“Let’s go to town!”, Eli proposed.

“MORYONAN: IKALAWANG YUGTO” was being written by Obligacion page by
page while the daily rehearsals were going on. The students, mostly
living at the town center were only too happy to join since school was
over. It was clear that the project would be an exercise in ‘focus and
determination’. No money for costumes, meals and snacks, lights and
sound. Even the venue was a problem. The covered court was blocked for
political speeches. The election campaign period had commenced.

But old costumes could still be used, there could be some supporters
and friends who could provide snacks, bamboo torches, lots of them,
could be used in place of stage lights, a dried up circular fountain
in front of the Rizal monument (opposite the covered court), measuring
four (4) meters in diameter - and the area around it - could serve as
the acting area. Theatre in the round!

At dress-tech, the bamboo torches were extinguished by the summer wind
one after another, voices were completely drowned out by the blaring
political speeches from right across. In just 10 minutes all the
torches were out, the final rehearsal went on illuminated only by
street lights and the moon. At the end of the rehearsal the actors
were completely quiet staring at the floor. They were ready to uphold
the “show must go on” tradition in theater but only if they could be
seen by the audience.

“Yes, we will find a way. We will have lights and sound by tomorrow!”,
Obligacion said with muffled voice.
Michael Seno who was acting as campaign leader for Bong Carrion passed
by and came to the rescue. The mobile system they used for the
campaign was available the next day and he would be happy to allow us
to use it, gratis. Rico Sanchez offered to provide soft drinks and
snacks for the cast.

The play was done in record 10 days from the writing of its script to
premiere night. “MORYONAN: IKALAWANG YUGTO” was the first production
of Balangaw that had a re-run in Boac, brought to Gasan and Mogpog
before a jampacked audience. For these free shows support came in for
coverage of lights and sound, transportation, meals and snacks. The
costumes and props improved. Mostly students from Immaculate
Conception College and a few studying in Manila who had returned for
vacation were among the cast. Gil’s two Filipino friends from
“Migrante” in Hongkong came to lend a hand in the production of the
Boac re-run.

Mandia who was pre-occupied in Manila with his own affairs came,
protested the assignment of Virtusio as guest director, during a
visit, argued that he had the right to stop the performances as
“artistic director of Balangaw” finding imagined defects in a play
that had been premiered successfully and shown in two towns outside
Boac. The “I am the God of theater in Marinduque” and “I am the
Messiah” lines were thickening the Bahaghari air this time. Quotes
like that are, of course, a dime a dozen in this country but really,
it was just all about who was the better director between the two.

“Him with his stage managing and masteral degree that he has yet to
earn, and me with my experiences and all the books I’ve read, yes, let
us have a debate on theater directing!”, a forceful Virtusio argued.

But it was not hard to see who between the two would pass off as the
better director, one who knew his art better and religiously practiced
the basic: understanding the material at hand.

As ‘hermano’ again for the Lupac barangay fiesta on June 1, Mandia and
Montenegro had a talk in Manila. The latter wanted “IKALAWANG YUGTO”
presented in Lupac to entertain the community on the eve of fiesta
with Mandia as director this time. The company director/playwright
acquiesced. With the exception of a couple of actors who had acted in
“Ikalawa…”, the new group trained by Virtusio were utilized for the
now-controversial play.

LINK
Posted by Eli at 12:25 AM 0 comments
TEATRO BALANGAW MARINDUQUE: Act One: 1992-1993


Prologue

In October 1992, TEATRO BALANGAW was founded by Eli Obligacion and a
small group of colleagues from Boac, Marinduque who supported the idea
that a community theater could be a good venue to promote interest in
local culture, showcase the untapped talents of young people and
present issues affecting the community. Two months later, its initial
project was presented at the Boac Covered Court for the town fiesta
celebration. The home of Obligacion in ‘Bahaghari’, Amoingon beach
served as Balangaw’s permanent headquarters.

Act One: 1992-1993

OBLIGACION AS COMPANY DIRECTOR/PLAYWRIGHT;
MANDIA AND MONTENEGRO AS ARTISTIC DIRECTORS.

The first production was a ‘double presentation’ sponsored by Benjie
Montenegro of Lupac who owned BM Talent Pool, a promotions company
based in Manila. BM came in full force with his talents for “PISTAHAN
NG SAYAW AT MUSIKA” a dance revue featuring jazz, modern dance, and
cabaret with solo numbers performed by notable artists from Manila.
Montenegro handled the over-all concept, design and direction of
“Pistahan”.
Obligacion’s “MARA UNDUK” (A Dance-Drama), was presented as the
‘local’ project with 52 students of Marinduque National High School.
Danilo Mandia of Boton was its director. Improvisational movements
were utilized for the play that lasted for 1 ½ hours with non-stop
ethnic music (from Muslim to Igorot) as background. Shouts of “hoy,
tama na ‘yan!” from the audience, audible even on the video copy is
probably its most realistic critique. The audience apparently had a
hard time understanding what was going on onstage.

“Wagi! Wagi ako!”, were the words of Mandia of the play, “Nailabas!
And I don’t care kung hindi nila maintindihan.”

(“It isn’t art, but I have their attention.” – The Chorus).

In April 1993, the Balangaw group made its debut in the Boac riverside
area on a makeshift stage built for the purpose (authorities refused
to allow the use of an existing concrete stage just meters away).
“MORYONAN: ISANG BALIK TANAW” also written by Obligacion, and directed
by Mandia, was an attempt to trace the evolution of the Moriones from
pre-Hispanic rituals to contemporary times. The play was presented
(after unsuccessful overtures from certain leaders and
politically-inspired groups to prevent it from being shown, something
that surprised the group). The play, to the group, was merely its
contribution to revive an age-old tradition of staging a street-event
at Lent’s culmination.

The play was preceded by a moryon mask-and-costume street-parade
participated in by some 500 youth participants and old folks who later
read excerpts from “Pabasa”. Prizes donated by Montenegro were given
to winning costumes and groups. National papers and television took
notice.

By July 1993 the group was ready with “LABANAN SA PAYE (A MUSICAL),
written by Obligacion. The material was based on actual stories and
events that revolved around the character of Teofilo Roque, the
‘Battle of Paye’ hero. Fifteen (15) songs were composed (both lyrics
and music), by Obligacion in the kundiman, balitaw and contemporary
style, with keyboard musical arrangements done by Dindo Asuncion.
Performers were from the Marinduque National High School with guest
artists from the Immaculate Conception College. The play was directed
by Mandia and was performed at the Boac Covered Court.

It was to be a turning point. The cooperation of the Municipality of
Boac was formally obtained but exclusive to use of the public venue,
without funds solicited. A souvenir program with a message from the
Mayor was readied by Obligacion with Montenegro agreeing to sponsor
its publication. It was to highlight the municipality’s role in
spearheading the Battle of Paye celebration consisting of various
activities, the play being only one of them.
In an effort to avoid any further misunderstanding with the municipal
authorities, a final draft of the program was readied. The play’s
director, who was in Manila where the program was to see print, made
last-minute alterations on the cover-page that immediately gave the
impression Balangaw spearheaded the activities.

Worse, the Balangaw production page was likewise altered that billed
himself, the director, as also the scriptwriter. As a result, the
municipality did not distribute the hundreds of program copies
arriving one day before the presentation. “Mali!”, was the only word
they could come up with. Consequently, no one from the municipio came
to watch the free show and with the exception of curious passers-by
and a few supporters the actors performed in a practically empty hall.

It was the period for reflection and re-examination for the
Marinduque-based members.

source: http://balangawmarinduque.blogspot.com/
--
Randy T. Nobleza, Head
School Publication Unit
Marinduque State College

mscians.multiply.com
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flickr.com/photos/rtnobleza



-- 
Randy T. Nobleza, Head
School Publication Unit
Marinduque State College

mscians.multiply.com
bordercrossings.tumblr.com
flickr.com/photos/rtnobleza
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