ARTS 7-4th Quarter-Visual Arts of Festivals | PPT

ARTS - G7 - Q4.pptx

1. FESTIVALS AND THEATRICAL FORMS IN THE PHILIPPINES

2. PHILIPPINE LOCAL THEATER TRADITIONS LESSON 1

3. Many believe that early Filipinos had no theatrical tradition before the Spanish colonization. Vicente Barrantes , the Spanish scholar who first wrote about theater in the Philippines, said that the Tagalogs derived their theater only from the West.

4. Theater has been defined as a mimesis of life, or the imitation of the speech or sound, gesture and movement, and appearance of people, animals, plants, things, or events. With imitators, ideas imitated, and space for the imitation, we can say that theater is not only a representation of life, but it is also an interpretation of it.

5. ANIMISTIC RITUALS Central to most animistic rituals is the babaylan , a medium who heals, wards off evil spirits, and brings harmony back to the community. This local priestess or priest is also called catalonan , mandadawak , or bayok. The medium recites special prayers and may even summon spirits to possess him or her in some rituals.

6. ANIMISTIC RITUALS The babaylan is a medium between heaven and Earth, whose major role is to reestablish connections.

7. The Tagbanua of Palawan hold diwata rituals to ask their highest ranking deity Mangindusa and other gods, as well as the spirits of their ancestors, for a good harvest and for taking care of the well-being of the ones who called for the ritual. ANIMISTIC RITUALS

8. Note that these rituals are still being performed today even by Christianized groups in many parts of the Philippines. For example, in Isabela, the Ibanag's atang-atang ritual features a decorated bamboo raft on the ground with sacrificial offerings, such as uncooked rice, rice cakes, eggs, oil, cigarettes, and a chick, which represents the sick person's soul. Two women dance around this raft, recite Christian prayers, and drink to heal the sick. Then they take the oil and rub it on the sick person's face, hands, or legs. ANIMISTIC RITUALS

9. Mimetic indigenous dances, considered proto-dramas , are basically imitations of the movements of plants and animals. They also imitate movements of humans doing particular things. Mimetic and ritual dances may be considered early dramatic forms in the Philippines. MIMETIC DANCES

10. Most dances also depict communal activities that mark important events in one's life: birth, baptism, courtship, marriage, war, and death. The war dance is important among most ethnic groups. In Cordillera, there is the idaw , which is danced by warriors before going to war. This ritual dance depicts the grace and movements of the idaw , a bird that they believe will lead them to victory. The Mansakas in Davao del Norte perform a war dance that imitates the movements of the bagani or model warriors who fight with bolos, shields, and spears. A war dance performed by the Maranaos and the Maguindanaos is called the sagayan . It depicts their epic hero, Bantugan , in the war he fought. MIMETIC DANCES

11. Mimetic indigenous dances, considered proto-dramas, are basically imitations of the movements of plants and animals. They also imitate movements of humans doing particular things. Mimetic and ritual dances may be considered early dramatic forms in the Philippines. MIMETIC DANCES

12. The Manobo man- manaok , the Blaan and Higaonon banog-banog , and the Mandaya kinabua imitate the movements of the hawk. The Manobo bubudsil reproduces the hornbill's ways of caring for its young, whereas the Sama and the Tausug have dances that imitate the movements of the sandpiper and the seagull. MIMETIC DANCES

13. Indigenous theater may also include certain customs related to courtship, marriage, and death. The most common among the courtship customs is the debate in verse, song, or dance participated by a male and a female. In the Maranao panonoroon , for example, participants recite metaphorical verses to one another. Here, the boy expresses his love to the girl, while the girl wards off his advances. CUSTOMS

14. Mimetic customs associated with weddings include the pamanhikan of the Tagalogs, wherein families of both parties speak in verse to come to an agreement regarding the bridal price or the dowry. CUSTOMS

15. Mimetic jousts are also performed in weddings. Mimetic jousts are word games wherein the verbal fighting conducted in playful settings takes mimetic form. Participants, who act out situations in verse, may also sing or dance as part of the performance. CUSTOMS

16. THE PHILIPPINE COLONIAL AND MODERN DAY THEATRICAL TRADITIONS LESSON 2

17. SPANISH COLONIAL THEATER The Spanish colonizers brought with them a number of religious and secular plays. Religious plays, used to spread the teachings of the Catholic Church, highlighted Catholic liturgical feasts and were performed during Christmas, Lent, or Easter. Elaborate secular plays were often performed in celebration of town festivals. Some plays and mini-plays remain popular among Filipino Christians in the rural areas today.

18. The komedya is a play in verse that uses the following conventions: marcha (for entrances and exits), batalla (choreographed fighting), and magia (magical effects). While it was first performed in the Philippines in the 1500s, the komedya was only institutionalized in the 1800s. KOMEDYA

19. The komedya de santo is a type of komedya that dramatizes miracles or certain episodes in the lives of patron saints or of Christ's life. Examples of this are the Comedia de San Miguel (ligan City), Haybing (Taal, Batangas), and the Comedia de misterio ( Paete , Laguna). KOMEDYA

20. OTHER TYPE OF KOMEDYA Another type of komedya reenacts the epic battles between Moorish kingdoms in the Middle East and Christian kingdoms in medieval Europe. It also dramatizes love stories of noble Muslims or Christian characters. This type of komedya goes by the names moro-moro , kumidya , coloquio , linambay , minoros , araquio , and tibag . You have previously learned about moro-moro and the araquio .

21. Perhaps the most remarkable and enduring religious play in the Philippines has been the senakulo (passion play). Staged as a community or commercial activity during Lent, the senakulo started as the reenactment of the Pasyong Genesis, a popular verse on the life of Jesus Christ. Stories derived from other pasyon and religious awit and korido were later added. The senakulo eventually evolved as a formal play complete with sets and costumes. It was staged by traveling troupes in theaters, on open-air stages, or in cockpits. The senakulo is called taltal (nailing) in Negros, tanggal (deposition) in Bicol, and pasion y muerte (passion and death) in other towns. KOMEDYA

22. The most numerous theater forms are the playlets. The playlets attest the importance of Spanish friars and local priests in teaching Catholicism. Many religious playlets in the Philippines merely embellish the Catholic liturgy or dramatize the feasts narrated in the liturgy. Some of the most important playlets are associated with the Christmas season. The Tagalog panunuluyan (seeking entry) and Bicol kagharong (going from house to house) dramatize the search by the Virgin Mary and Saint Joseph of an inn in Bethlehem on Christmas Eve. PLAYLETS

23. The Lenten season, specifically the Holy Week, has many more playlets associated with it: Osana - Blessing of the palms Via crucis - Way of the cross Paghuhugas - Washing of the feet Huling hapunan - Last supper (some Tagalog and Bicol provinces) Siete palabras - Seven last words Soledad - Procession of the image of the grieving Mater Dolorosa (Bicol and Pangasinan) Pagkabuhay - Reenactment of the resurrection of Christ Salubong - Dramatization of the meeting of the Risen Christ and the Virgin Mary on Easter Sunday morning (also known as sugat , encuentro , sabet , Alleluya , and padafung ) Hudas - Burning of the effigy of the traitor Iscariot (Pampanga and Bulacan) Moriones - Reenactment of the story of the Roman soldier, Longino (Marinduque) PLAYLETS

24. The Spanish zarzuela ( sarsuela , sarswela ) is a theatrical form performed with music. The sarsuela is also called dramalirico , dulang hinonihan , dulang inawitan , and operetta. It was first performed in the Philippines in 1879 only by Spanish actors. Eve. SARSWELA

25. The following are some zarzuelas performed in the vernacular: • Bulacan - Budhing Nagpahamak (1890), Anonymous • Waray - Ang Pagtabang ni San Miguel (1899) by Norberto Romualdez • Pampanga - Ing Manage (1900) by Mariano Proceso Pabalan Byron • Pangasinan - Say Limang ag Naketket Pampinsiwan (1901) by Catalino Palisoc • Cebu - Maputi ug Maitum (1902) by Vicente Sotto • Iloilo - Ang Capitan (1903) and Ang mga Viciohan (1903) by Valente Cristobal • Nocos - Codigo Municipal (1908) by Mena Pecson Crisologo • Bicol - Anti Cristo (1910) by Justino Nuyda SARSWELA

26. The American era had a strong influence on the form and philosophy of theater in the Philippines in the 20th century. The Americans brought bodabil in the 1920s. It can be performed using either the English or the Philippine language. Bodabil was a performance of songs, dances, and comedic skits that reflect what was popular in the United States. AMERICAN COLONIAL THEATER

27. Realism dominates contemporary theater in the Philippines. There are two types of realist theater in the country. The first has psychological tendencies focused on the problems of the individual. The other has social tendencies wherein the problems of the individual are related to the wider context of society. In other words, the problems of the individual are caused by social forces that he or she must confront. CONTEMPORARY TRADITION

28. The Three Rats by Wilfrido Ma. Guerrero, A Portrait of the Artist as Filipino by Nick Joaquin, and Hiblang Abo by Rene O. Villanueva are some of the contemporary Filipino plays that belong to the first type. CONTEMPORARY TRADITION

29. The Three Rats by Wilfrido Ma. Guerrero, CONTEMPORARY TRADITION

30. A Portrait of the Artist as Filipino by Nick Joaquin CONTEMPORARY TRADITION

31. Hiblang Abo by Rene O. Villanueva CONTEMPORARY TRADITION

32. A CELEBRATION OF PHILIPPINE FESTIVALS LESSON 3

33. PHILIPPINE FESTIVAL Filipinos are people who are grateful and know how to have fun. These traits are apparent in the way we celebrate our fiestas or festivals. Some fiestas are religious, others are cultural, and some are a combination of both. Fiestas are celebrated to honor a local patron saint, to be grateful for a good harvest, to commemorate local culture and history, or even to promote the products of the community. They usually feature Holy Masses, food, religious or cultural rituals, parades, processions, theatrical plays, street dances, concerts, pageants, games and contests, exhibits, and trade fairs.

34. RELIGIOUS FESTIVALS

35. Quezon province celebrates the Pahiyas Festival to honor San Isidro Labrador, the patron saint of farmers. It is also the time to be grateful for an abundant harvest. The centerpiece of this festival is the street where houses are adorned with agricultural products and handicrafts. What makes the decorations unique is that the decorations are made of rice wafer or kiping . The kiping is glutinous rice, colored, leaf-shaped, and arranged like a chandelier. The festival also features a parade of well-adorned carabaos. The Pahiyas is observed every May 15 in Lucban, as well as in Tayabas , Sariaya , and other towns in Quezon. PAHIYAS

36. This festival features dance rituals for fertility and a bountiful harvest. Every May, men, women, and children dance on the streets of Obando, Bulacan, followed by the images of the patron saints San Pascual Baylon (May 17), Santa Clara (May 18), and Nuestra Señora de Salambao (May 19). While dancing, participants sing the Santa Clara Pinung -Pino song. OBANDO FERTILITY RITES

37. A festival held in Marinduque every Holy Week. Local men and women wear costumes and masks as their interpretation of the attire worn by biblical Roman soldiers. The term morion means "mask" or "visor," which is part of the armor of the medieval Roman. This tradition has inspired other Philippine festivals wherein folk history of cultural practices are turned into colorful street festivals. MORIONES

38. The Ati-Atihan Festival of Kalibo, Aklan is held every January, concluding on the third Sunder of the year. The two-week long festival was originally a pagan animist festival that the Spaniards adapted in honor of the Santo Nino. The Ati-Atihan is one of the most jovial among Philippine fiestas. ATI-ATIHAN

39. Sinulog happens every third Sunday of January to honor the Santo Nino, similar to the Ati-Atihan Festival. The sinulog is basically a dance ritual that commemorates the pagan past of the Filipinos and the time when they first embraced Christianity. The term sinulog refers to the Cebu River's strong current movement that is imitated in the dance. SINULOG

40. llonggos are one of the most fun-loving people in the Philippines. This is most observable during the Dinagyang Festival held in Iloilo City every fourth Sunday of January. The word dinagyang means "merry making." It is basically a celebration in honor of the Santo Niño, as well as a commemoration of the arrival of Malay settlers in Panay. DINAGYANG

41. Santacruzan is a historical and religious pageant held in many cities, towns, and even barrios throughout the country. It is usually held in May. The novena procession commemorates the finding of the cross by Saint Helena, Constantine the Great's mother. Girls and ladies who embody certain values are selected to take part in a flashy pageant parade. SANTACRUZAN

42. NON-RELIGIOUS FESTIVALS

43. This flower festival is held in Baguio City every February. The month-long festival was created to highlight the city's fragrant and colorful flowers. Panagbenga is a Kankanaey word, which means "blooming season." This festival also started as a way to lift the spirits of the locals following the destruction brought about by the Luzon earthquake in 1990. The grand float parade is one of the highlights of the festival. Well-crafted floats are decorated with different kinds of flowers grown by the locals. PANAGBENGA

44. The Masskara (from the English word "mass" and the Spanish word "kara" or "face") started in the early 1980s when Bacolod City, the country's sugar capital, was hit hard with the plunge of sugar prices in the world market. To boost the morale of the locals, the city government and local artists began holding the Masskara Festival. Celebrated every third weekend nearest to October 19, this festival dramatizes the resilience of the Negrenses , and it reflects the characteristics they are known for- smiling and putting on a happy and hopeful face in times of challenges. MASSKARA

45. The word kaamulan is derived from the Binukid word amul , which means "to gather." Kaamulan can mean a peace pact, a thanksgiving festival, a wedding ceremony, a ceremony for datuship , or combination of these events. Held in Malaybalay City from the second half of February to 10 March, the Kaamulan Festival highlights the culture and tradition of the seven ethnic groups in the region: In general, the thanksgiving festival functions to unify the people of Bukidnon. It also symbolizes their quest for identity. KAAMULAN

46. A thanksgiving harvest festival in Davao City. It is celebrated every third weekend of August. Kadayawan celebrates the abundant harvest of fruits, vegetables, flowers, and other agricultural products. Kadayawan is also the time when Davaoeños express their gratitude for their peaceful life and wealth of their culture. There are three aspects of Kadayawan : tribal, arts and entertainment, and industrial. The name of the festival derives from the Mandaya word madayaw , referring to something that is precious. KADAYAWAN