5th KARAY-A ARTS FESTIVAL

Events at the 5th Karay-a Arts Festival (KAF5)

October 21
9:00 AM - Opening of Arts Fair and Cultural Caravan. Featured artworks from the Datu Lubay Collection by Fernando Catague, Heber Bartolome, Ronald Dayon, Edmund Bacia, Fernando Kabigting, Alan Cabalfin, Jerome Malic, Nunelucio Alvarado, etc. Venue: Datu Lubay Center

10:00 AM - Lecture on "Antique in the (he)art of J. Elizalde Navarro" Venue: Datu Lubay Center

3:00 PM - DAGYA: A celebration of Karay-a songs and dances at by Hiraya Theater Company, at Gaisano Grand Mall of Antique. Guest of Honor is former governor Salvacion Zaldivar Perez.

October 22
8:00 - 12:00 AM - On-the-Spot Art Contest. Open to Elementary students. Venue: Datu Lubay Center

1:00 - 5:00 PM - Contemporary dance workshop. Guest trainer courtesy of the Committee on Dance of the National Commission for Culture & the Arts (NCCA). Open to high school and college students and out-of-school youth. (Workshop extends until October 23, 8:00 - 12:00 AM, and the showcase will be presented at the Luwalaybay. Venue: Datu Lubay Center

6:00 PM - One Night Only Nightmarket and Street Party at Ricarze Street. Featuring guest performers and Blitzkrieg Band. Sponsored by San Miguel Beer.

October 23
8:00 - 12:oo AM - Contemporary Dance Workshop. Venue: Datu Lubay Center

5:00 PM - LUWALAYBAY. Featuring Rubie Rizza Estaris, Hiraya Theater Company, St. Anthony's College, Teatro Antiqueño of the University of Antique, PPSA Performing Group, Datu Lubay Center students, etc.

KAF5 is sponsored by the Antique Provincial Historical & Cultural Council, Datu Lubay Center, Inc., the National Commission on Culture & the Arts, Inday Sally Zaldivar Perez, Susana Marketing, The Pinnacle Suites & Functions, Greenwich, Gaisano Grand Mall, Esprutingkle Water, San Miguel Beer, Buenavista Cable TV, Paul & Davids Batchoy, Mil & Ernie's, Rose Furniture, Bill & Bryan's, and more. For sponsorships please call 036-5408731.

Simple elegance wins over studied performance

We all rooted for Shamcey Supsup today.

But when I saw Miss Angola in Top 16, I felt right away she would win. How she emphasized her neck and shoulders with that high chignon, befitted the crown.

Miss Philippines Shamcey Supsup was the perfect candidate. All of us badingerzies are unabashed in forecasting a Miss Philippines crown. We thought she would do better than last year’s Venus Raj, who finished fourth runner up after a major-major interview disaster, because Shamcey is an honor student at the University of the Philippines and an architecture bar topper. She did, indeed, by placing third, yet far away from the coveted Miss U crown.

Shamcey’s final interview was a winner, by beauty pageant standards. Asked if she would change her religion for love, she answered she wouldn’t because her first love is God, and if he loves her, he would also love her god. I heard all the Miss U fans in the country say, “This is it!”

The Philippine Miss U experiment this year did not succeed. What went wrong?

There was a time when the country would send gorgeous faces and alluring bodies, who failed to bring home the crown. And we thought our candidates lacked height, so we looked for Filipinas taller than 5’6” plus six-inch heels. We thought our mestiza candidates paled beside the Caucasian beauties, while Latinas were heating up, so we searched for the kayumanggi and sent Miriam Quiambao and Venus Raj. They both placed in Top 5, with Miriam almost clinching the crown. Learning from history, our winning formula seemed to have been the wit of Gloria Diaz (1969), the physique of Margie Moran (1973), and the color of Desiree Verdadero.

Shamcey Supsup, despite a rather quirky family name, epitomized all that. Yet we failed again. Her witty answer only proved that Best in Interview still do not count in Miss Universe. Neither does a sizzling stage strategy. Shamcey was overflowing with confidence on stage. Her style was the “tsunami walk,” the latest in beauty contest parlance, and she was poised for the kill. Miss Philippines contestants, I heard, are trained in a beauty queen school in Venezuela. By the way, did anyone notice how artificial Miss Venuezuela looked that evening? I suddenly remembered Venezuelan Minorka Mercado of 1994. That kind of studied elegance on stage.

Towering Miss China failed because of her scanty answer to the question about public nudity. Miss Brazil was of course a hometown victory, as we would recall Charlene Gonzales in 1994 – a privilege given to pageant hosts, I guess. But she was very vivacious, egging her fans to keep applauding her every time she was called. Miss Ukraine, who placed first runner up, was forgettable in that generic yet willowy white gown.

But Miss Angola Leila Lopes did not sashay on stage. She appeared clutching her gown’s hem while descending the ramps, releasing it only when she reaches the stage, much like a queen descending from her carriage, a wisp of a cloud trailing behind her. She gave a rather lengthy answer and hit overtime, trailing with an unfinished advice “We must respect each other…,” and took the crown, proving that there is still a lot of grace, charm, and elegance in unassuming confidence and spontaneity.

But of course, there were judges, and we could only guess what politics, preferences, prejudices, and parameters of beauty they have. This is what I like about Miss Universe. For instance, Miss USA did not count in this year. I am very happy every time USA loses in its own game. Like, there is hope for the rest of us. Miss Philippines is the only Asian; China, which has become quite visible in the pageant lately, may not count anymore since they are getting to be a superpower. Miss Universe transcends geographies. Most finalists were Latinas, as usual. France, which we all thought of as the fashion capital turned in the worst gown in the finals, while how come Australia, Philippines and Miss Universe 2010 had the identical concepts of a gown? This year, an obscure country like Angola takes center stage.

Perhaps next year, Miss Philippines should try a different strategy. Meanwhile, congratulations, Shamcey! You did us proud. @

Forgotten poem found

I rummaged through my baul last night and found "3ng," a literary and art folio created by Sid Hildawa+ in 1995. The folio included such big names in Philippine art and literature as Bencab, now National Artist, Doctolero, Butch Payawal Reyes, Hermisanto, Ricky de Ungria, Gemino Abad, Vim Nadera, J. Neil Garcia, Robert Alejandro, Jerome Malic, Lourd de Veyra, et al. and, of course, Alex C. Delos Santos!

My contribution is the first issue of ADS, a one-page newsletter I used to publish back then, when zines were not yet proliferating. I think I am one of those who pioneered on literary zines. I am struck by a poem in English that I wrote and forgot. "Beyond Rangoon" is an impressionist poem after watching the film. This is a rare one since I have stopped writing poetry in English. It is not even included in my first poetry collection Mga Kanta ni Datu Lubay (2003). Just for keeping tab, I am publishing it here again:

BEYOND RANGOON

Scene: Burmese refugees cross

the river border to Thailand

No way to bid goodbye now.

Death is the river of peace

That claims husbands and friends

Not spared from brother's bullets.

Not only hearts are wounded,

But the land.

She cannot take so much

Of the blood of her sons.

Guns aren't the best tools

For tilling; fear not the best seed.

She could only yield clenched fists

And flags of anger, red to the grain.

Even words can bend rifles:

Fathers can teach soldiers

Not to kill their brothers.

Freedom is a broken bridge away.

No use looking back.

There is victory in fleeing

A country where birds

Know only the chill of cages.

Rubie Rizza: The gem of original Kinaray-a music

This article appeared in fittopost.yahoo.ph and Vera Files in January 2011.

The best female artist at the recently concluded first Ilonggo Music Awards in Iloilo City is not an Ilonggo but a Karay-a. Singer and composer Rubie Rizza comes from neighboring Antique province, but her song “Ti ano karon?” (So what?) won the votes from the Ilonggos, making her the true diva of original Kinaray-a music (OKM). “Ti ano karon” is, undoubtedly, her first hit single.

It took more than two years for her song to break into the airwaves. It was first heard at the 5^th Original Kinaray-a Music (OKM) Awards in San Jose, Antique in 2007, when it won the top prize. It surely levelled up Kinaray-a music from mainly ditties and ballads that local composers have been dishing out. It is perhaps the first Kinaray-a jazz.

“Ti ano karon” is a song about a woman who may not have the looks, but has the heart and the brains, and if these are not enough to attract men, she simply doesn’t care. The first stanza is a candid admission: “Bukut ako it gwapa, medyo may arikis, dapa akun irong, lawas ko daw tiwis” (I am not pretty, I have scabs, my nose is flat, my body is thin), yet there is enough humor and confidence in the voice that cries beauty is not only skin deep.

In reality, the song belies what the singer really is. Rubie Rizza was crowned Lin-ay kang Antique (Miss Antique) in 2005, despite her insecurity with her physical attributes. “I was too thin and flat-chested,” she described herself. But thanks to her singing and vivacious personality, she stood out among the finalists that year, despite appearing like a Las Vegas showgirl during the festival costume parade.

As a Lin-ay kang Antique, she went on a trip to Thailand. More than shopping in Bangkok’s night markets, she cherished the opportunity to share Antique’s culture and original Kinaray-a music to students at Srinakharinwirot University. Her stint as co-host in a regional television show prior to the beauty contest helped her hone her performing skills. The students there thought she was a star in the Philippines, which she is in her own right.

At the Rainforest World Music festival in Sarawak, Borneo in 2009, Rubie Rizza volunteered to perform during one of the open mike side events and chanted in Kinaray-a. That is the kind of spirit she has when it comes to performing. “I think my friends and I were the only Karay-a in that event. There were many people of different nationalities. It was my way of making people from other countries hear Kinaray-a,” she explained. She believes Kinaray-a music is sophisticated enough to be heard around the world.

That’s why she devoted to writing her own songs. So she wouldn’t simply be known as a pretty songbird; she wants to write songs that have something to say. They may be funny, but they hit some vein. Right now, her next project is to come up with her own album. She has written a couple more songs, and plans to do covers of some of the best Kinaray-a love songs, including that perennial folksong “Lumabay-labay nga daw aso” (Ephemeral as smoke), which appears to be her favorite of the Karay-a folksongs. She learned and mastered the song for one planned but unfortunately never-materialized trip to the United States, supposedly to be an ambassador of goodwill to the Antiqueños there – a responsibility that comes with being a Lin-ay kang Antique. She considers that one occasion of lining-up at the US Embassy, applying for a Visa, and not getting approved as one of her life’s little jokes.

Aside from writing her songs and singing, she juggles between her day and night jobs. By day, she is Mrs Rubie Rizza Estaris-Villavert, youngest bank manager in the province of Antique. By night, if three-year old son Kiv doesn’t miss her much, she does guest relations for the bistro she runs with husband Mark. Her distinctive touch in the interior, the menu list, service, and events, has made Café Amistoso one of the night spots to be in San Jose, Antique.

It takes a great sense of humor and confidence to be singer, beauty queen, wife, banker, mother, composer, and businesswoman – roles that Rubie Rizza has taken on so well, so far.

The multi-media art of Alan Cabalfin

This piece appeared in fittopost.yahoo.ph and Vera Files in January 2011. Image by Eman Lerona.

Sometimes, his house along Canillas Street in Leon town of Iloilo overflows with students from the University of the Philippines in the Visayas, or with members of the historical council from Antique. It is an old two-storey wooden house that he himself had remodelled, with the assistance of a neighborhood handyman. The entrance was reinforced with concrete inlaid with shards of ceramics from the artist’s workshop, and the flooring is a mosaic of colourful tiles

salvaged from a bargain hardware store in Iloilo City. His humble house is a showroom of paintings, sculptures, ceramics, and an assortment of his collections. It has practically become this small town’s tourist attraction.

Alan Cabalfin is an artist of mixed persuasions. Although originally breaking into the Iloilo art scene as a watercolorist, he became well-known as a ceramic artist, having apprenticed under Nelfa Querubin who used to have a pottery workshop in Miag-ao, Iloilo, and after training in ceramic art at Tokoname, Aichi, Japan in 1995. His sculptural works were then exhibited in galleries in Iloilo, Manila, and Dumaguete. He joined many group exhibits and festivals exhibiting his works.

Cabalfin’s passion for pottery was translated into cinema when he made his first short film after attending a Mowelfund Film Institute film-making workshop in 2000. His short film “Dihon” (Mold), which was set in the Querubin work shop in Miag-ao, earned a string of recognitions from the Cultural Center of the Philippines, Gawad Urian (Urian Awards), and the Film Academy of the Philippines awards in the short films and student categories. Recognition for this little film was topped by a First Prize in the Kodak Cinematographers Competition, making “Dihon” the country’s official entry to the Kodak Worldwide Student Program Cinematographers Competition in Sydney, Australia.

His love affair with film led him to work with several film projects: as production designer in Nick Deocampo’s “Mother Ignacia,” and as art director in Jonar Pueblo’s Ilonggo film “Dagyang.” He also directed the “Samayaay” video for the Iloilo National High School Special Program for the Arts. But Cabalfin’s multiple talents was not left unnoticed by those he was able to work with. Soon, he found himself designing galleries for exhibitions and museums and doing sets for stage productions. He was asked to design the RVM Historical Museum and later the Heritage Hall in Quezon City, the Lourdes College Museum in Cagayan de Oro, the Evelio B. Javier Gallery and the Museo Antiqueño in San Jose, Antique, and the Guimaras Provincial Museum and Monument in Jordan, Guimaras. His practical yet highly creative and versatile stage designs using textiles were well appreciated by directors who asked him to design sets for ballet, sarswela, and even beauty pageants!

As art director for Miss Dinagyang and Lin-ay kang Antique for several years, Cabalfin’s touch was seen in drapes and painted sceneries that complement the various segments of the pageant, much like imitating the patadyong (locally women textile from Panay). Cabalfin is well aware of the distinct weaving traditions in both Antique and Iloilo, that his production designs may well be a homage to these well-kept traditions.

As an artist, Cabalfin sees all these works not as mere money-making ventures. He believes that something must go back to the community where art belongs. While working as art director for the Museo Antiqueño in April 2007, where he did some terracotta dioramas, he was able to interact with the potters of Sibalom, where he sourced his clay. Seeing the traditional pottery-making in Bari, he volunteered to conduct workshops and lectures which helped the potters produce other designs aside from the functional banga (water jar), kuron (round bottomed-pot), and sig-ang (stove). Now, the potters dish out animal figurines, candle and lamp holders, which are easily picked up by garden enthusiasts at local trade shows. Six months later, he came back to the Museo Antiqueño for his the exhibition “Bag-o nga Daan,” his first pottery exhibit since his last in 1996.

When Cabalfin was invited to exhibit at the Philippine Center in New York last year, he decided to bring to the Big Apple something of Panay. His solo exhibition that ran from July 12-23, 2010 at the lobby of the Philippine Center was titled “Binanog: Panay Bukidnon on the Rise.” Binanog is the dance of the Panay Bukidnon, imitating the movements of the banog bird. The exhibition featured his paintings and ceramics that capture the delicate motifs of the Panay Bukidnon embroidery called panubok and the energetic movements of the binanog dance. One particular painting is a triptych called “Binanog sa Siyudad,” (Binanog in the City) showing three binanog dancers, each against the backdrop of urban skyline, identifiably Iloilo City, Hongkong, and New York.

Coming home from that New York exhibition, Cabalfin, hastily prepared another painting exhibit called “Binanog sa Siyudad” for the Karay-a Arts Festival held at Gaisano Grand Mall of Antique on October 22-23. He was so filled with inspiration. “I think that in my next projects, I will consciously try to show not only my art, but my culture as well,” he said. @

Macrame

Yesterday, I got a surprise SMS from Laurence Tapican, a young poetry enthusiast (and I suspect he writes poetry, too) from Aklan. He requested for a copy of my poem "Macrame," which was published in Homelife in 2001, and won second place in the annual poetry competition initiated by its literary editor Leo Deriada. Laurence said he has been wanting to read it since he was in first year high school, and now he is a college sophomore. Today is Laurence's birthday, and I want to give this gift to him (not a very happy poem, though). I admire Laurence's zeal for poetry, and I wish there were more young people like him interested in poetry.

Macrame

There is no sadder art:

I make each knot

As though a sorrowful mystery

Recited on Holy Week:

A beadless rosary rolled

Between my fingers

Blistered and pained

Like remembrances of false loops

And entanglements.

How am I to weave

This twine of strength

To decorate my bare walls?

I think of many patterns,

But when knotted

They make a thousand little nooses

To hold the necks of my desires.

This art of tying is a grave thing.

It shortens the string.

When I reach the end of my rope,

I make one final knot

And I am ready to

Hang.

Vaun, 8

This is the companion piece to "Vaun, 21", which I posted two days ago. This was published in MGA KANTA NI DATU LUBAY, 2003.

You asked me what circumcision was,

And I told you the doctor cuts the foreskin.

You frowned and said it hurts,

And looked at me, waiting for confirmation.

Of course, it hurts. It's painful

Like all manner of cutting.

It was painful for a tree when you cut

Its branches with that sword you fashioned

Out of bamboo sticks.

It was the pain you felt when you cut your finger

With Nanay's kitchen knife, trying to sharpen

The tip of an arrown with which to shoot

Lola's santol. You cried, didn't you?

Though not exactly the same way I cried

Looking at Tatay on his deathbed

That first morning of May.

You looked at me, wondering.

Because it was painful too.

Something was being cut, being lost.

But that pain we could bear.

And you asked me why boys needed

To be circumcised. I don't know.

I did not ask Tatay when he took me

To the hospital for this ritual men imposed

Upon themselves. I am sure he wouldn't hve

Known the answer. They say it is for us

To stay clean, though it's only the tip of us

That's trimmed. (I don't really believe this,

Because once we expose our heads, the more

We become impure.)

They say it makes us a man. Maybe

It is for boys to feel the pain of becoming men.

So when time comes when we lose our fathers,

We could bear the pain.

It is like sticking up our necks, all right.

Now that Tatay's gone,

You are not only my brother,

But also my son.

Ang gusto ko sa lalaki

Bukut bahul anang ulo, nga kaangay kang lobo

Kon kang mga pagdayaw ginahuyupan ko;

Malabug anang pisi, bukut lang anang pisot,

Para may panghigot sa gamo nga mapudyot.

Kamaan maghibi sa kasubu kag kabudlay,

Bagnas ang pagharakhak kon kami ‘gakalipay.

Nagabato sa sipal, bisan sa sunloganay,

Kag ginabaton man ako, pananglit magkulang;

Malapad kag matibsol anang braso kag dughan,

Nga daw nagalinog kon kami ang mag-kuwan;

Dungan kami magsalum kon sa mga problema,

Dungan man nga magbutwa, ‘galagas kang ginhawa.

Dungan kami magturog, dayon nga magahandum

Kang pagbagtik kang asin sa mga dughan namun.

Vaun, 21

Wara run ikaw it mga pamangkot

Tungud naubos mo run ka pakut

Ang mga sabat sa imong hunahuna.

Sa imong pagsulud sa departure area

Daw may naghapon nga kaluya,

Angay kang nagaisarahanun nga maya.

Malupad ikaw nga dara gid lang

Ang mga hopya nga bilin ni Nanay,

Kag ang kaugan kang mga tinaga

Kang amun pagpalangga.

Ayhan kon sarang lang ibaruron

Namun sa imong maleta

Ang mga hakus kag haruk

Nga nagkulang sa imong paghamtung

Agud ipabatyag kanimo

Nga ang atun nga pagburugto

Indi makilala sa atun dugo,

Kundi sa atun pag-irimaway

Sa nagarinapta nga balay:

Si Neneng mo sa California,

Si Cheche rugto sa Florida,

Si Inday rugto sa Malaysia,

Si Nenet sa Saudi Arabia.

Ayhan rugto sa Amerika

Makita mo ang kanimo gin-aman,

Hay rugto man nagahulat si Nanay

Nga nagatipon kang panimalay

Paagi sa cellphone, Forex

Kag balikbayan box,

Facebook, email kag text.

Mangin lubos ang pag-iririmaw

Sa atun pagbulag kadya nga adlaw.

Layaw para kay Datu Lubay

Now it can be told because I have received the confirmation letter from the National Commission for Culture and the Arts. I got a grant to translate six of my stories into Filipino. The six are:

1. Alot (Haircut). This is about coming home and finding out that everyone you knew has gone, except for your barber. An unexpected haircut becomes a metaphor for cutting off your relationship/s.

2. Ang Sastre (The Tailor). The village tailor dies, and everyone was waiting for his only son so they could bury him. But the whole village could only whisper their shock when the son arrives as a woman in red dress, with a bouquet of black paper roses.

3. Abyan (Friend). Three friends tell their own tale of a friendship that they didn't notice was falling apart.

4. Gugma sa Bangkok (Love in Bangkok). Exploring the labyrinth of a bath house in Bangkok, a traveler falls in love with a stranger, a Bangkok boy who buys him red roses from a Suan Plu market. No one has ever done that for him before.

5. Library. The school library opens. There is a program, with guests from the capital town. The school children perform for them, but only the teachers and guests are let inside the library for the reception. The excited school children peer from the wooden windows.

6. Imelda. Imelda buries her husband, who left her nothing but a small plot for vegetables. In the evening and she lies down on the bamboo floor, she listens to the chicken in their coop, and feels for the first time a sense of joy and freedom.

These stories shall be published next year in a bilingual edition. Stories 1-4 have been published in my book "Agi, agi may putay sa dahi" while stories 5 & 6 are new. Am excited to finish Binirayan 2010 and start on the translation.

"Tumaka" in Silay City

Just after its premier during the Karay-a Arts Festival 3, we got an invitation to perform "Tumaka" in Silay City. The occasion was Padayon One Visayas!; we were to be part of the cultural night sponsored by the National Commission for Culture and the Arts. So off we went, this time with even fewer actors! (You know how it is to be a travelling troupe, and the expenses it entails.)

For this edition, we added a scene. That's after the suggestion by Cecile Locsin Nava, who watched the performance in San Jose. She would like to see a scene to show how Maria was swept by Tumaka's charm. We devised this scene overnight, just before we left San Jose for the 3AM trip to Iloilo. We wanted it to be a quiet love scene, with only Tumaka speaking, offering her something to eat (first, a banana which she refused), but Maria just kept looking at him until the last part where she tells Tumaka she is hungry and would love to eat anything. Tumaka offered her balinghoy (cassava root), which of course, is a phallic symbol.

Perico Pikoy (played by moi!), as usual stole the show, with his balletics and eclectic dance movements. So perhaps, I shall give the role to someone else next time. That would give me more chances to watch the play entirely so we could keep improving it to perfection.

We performed at the century-old mansion Balay Negrense, with no less than Governor Sally Perez of Antique, Mayor Oti Montelibano of Silay, Mayor Mel Senen Sarmiento of Calbayog City and some of Silay and Bacolod's culturati in the audience. The play was well received by the elite audience, despite it's risque material. We believe the play will get more genuine appreciation, as it did during the KAF3 at the EBJ Freedom Park, from the general public (read: masa audience), when we tour it to the towns. I hope we could get enough support to tour the play.

Hiraya's new play

Hiraya Theater Company premieres its new play at the closing ceremony of Karay-a Arts Festival 3 at the EBJ Freedom Park on Sunday, 25 October at 7:00 PM.

The play "Ang pagtaban ni Tumaka kay Maria Katsila" is based on a Pandanon legend about an Ati tribal chief in Mt. Mab-o who outwits the Spanish governor by running away with the taxes collected from Ibajay and the governor's wife Maria. The play follows a series of zany encounters as the the Spaniard tries to get back with his wife, until he succumbs to heart attack and public humiliation. I used folk and traditional music to enhance the mood, starting with a komposo to introduce the central character. Period music in Spanish from Guillermo Gomez Rivera's CD "Nostalgia Filipina" proved especially useful to connect the scenes. "Flor Filipina" (track 8) was interpreted in the love scene/dance number between Tumaka and Maria, while "Mariposa Bella" (track 9), the predecessor of "Paru-parong Bukid" was interpreted with Ati dances and shouts at the finale, while the Ati scenes were identified with "Abaw tiyo Andoy, inum tuba laloy."

The play stars Mclaurence Saligumba as Tumaka, Jean Matias as Maria, and Richard Salameda as Governor Puentes, supported by the Hiraya ensemble.

KAF 3

Despite low budget and all, the Karay-a Arts Festival 3 will finally push through on October 23-25.. This year's edition looks like a theater festival with student theater groups participating. Teatro San Antonio of St. Anthony's College is staging my "Pagtimalus ni Kapinangan" with Cyruss Matencio directing; Maskara Theater Ensemble of University of St. La Salle has Dennis Teodosio's "Pobreng Alindanaw"; and Kanlaon Theater Guild has Wilfrido Ma. Guerrero's classic "Away Basketbol" (Basketball Fight). Meanwhile, Hiraya Theater Company will open the festival with the komedya "Ang Kapid" on October 23rd, and closes it with it's new production "Ang pagtaban ni Tumaka kay Maria Katsila on October 25th.

Hiraya's new production is so much fun to do despite lack of actors. I get to act too, as a parrot, and my costume is exciting.

Also joining the festival are Polytechnic State College of Antique's Teatro Antiqueño and PSCA Chorale, Gawad Manlilikha ng Bayan Federico Caballero, and the indigenous peoples organizations of Antique.

Walang himala

Bago pumanaw si Cory Aquino ay nag-quarantore pa sa EDSA Shrine. Ito ay 40 oras na padasal para humingi ng himala. Pero bago pa man natapos ang 40 oras ay namatay si Cory. Walang himalang nangyari.

Baka ang mensahe para sa mga Filipino ay hindi na kailangan ng himala. Minsan nang nabiyayaan ng himala ang ating bansa, noong EDSA 1986 Revolution. Naging simbolo ng spiritwalidad si Cory Aquino, at mahal na mahal siya ng simbahang Katolika. Mga pari at madre ang kakampi niya sa EDSA. Ngayon ay kailangan nating lutasin ang ating mga problema sa sariling tiyaga, kayod, at tamang pag-iisip. Hindi na si Tita Cory ang magdadala ng himala sa atin.

Noong natapos ang administrasyon ni Cory, maraming kritiko ang nagsabi na wala ring nagawa si Cory bilang presidente. Mababang marka ang binigay sa kanya. (Mukhang walang nakakaalala nito, at hindi nabanggit sa lahat ng mga programa ng ABS-CBN). Wala rin daw nangyari sa Pilipinas. Pero ngayon - bago pa man siya pumanaw - halos lahat ay nagsasabing siya ang pinakamabuting presidente pagkatapos ni Marcos.

Naalala ko ang huling speech ni Cory bilang presidente, sinabi niyang "let history be the judge..." at mukhang natutunan na rin ng sambayanan ang kabutihang dala ni Cory Aquino. Habang nanonood sa telebisyon, hindi maiiwasang maiyak, hindi dahil sa lungkot, kundi sa tuwa na biglang nagkakaisa muli ang mga Filipino sa pagluluksa para kay Cory. Nakakaantig ng damdamin ang mga eksena sa Ayala kahapon habang dumadaan ang kabaong ni Cory. Biglang bumalik ang mga eksena noong 1983 nang pinaslang si Ninoy. Napakaraming tao. Lahat ay halos naluluha-luha habang nagwawagayway ng dilaw na bandila o ng Laban sign. (Pero hindi ba ito rin ang karamihan na bumoto kay Erap at kay Gloria?) Ang pagpanaw ni Cory Aquino ay isa lamang wake up call para sa ating mga Filipino para muling usisain kung saan na patungo ang demokrasyong pinaglaban natin noong 1986. Kaya bayani pa rin si Cory, at hindi siya nagkulang hanggang sa katapusan ng kanyang buhay.

Pero hindi ko rin maiwasang isipin na isa sa mga bunga ng pagkapresidente ni Cory ay ang pagsikat ni Kris Aquino. Walang naniwalang may talento si Kristeta noong nagsisimula pa lang siya sa showbiz. Pero anak siya ng presidente kaya kailangang gawan ng paraan ni Mother Lily. Ipinareha pa siya kay Richard Gomez noon sa "Ang Sosyal at ang Siga," at pati ang komedyanteng Rene Requestias ay pinatulan niya. Nagpaka-cheap pa si Kris sa Fido Dida. Minsa'y tinawag pa siyang The Fallen Star dahil nahulog o nadulas siya sa entablado sa isang palabas sa Cubao. Pero dahil sa kanyang pagsisikap at determinasyon, at katatagan sa gitna ng napakaraming hamon sa kanya (e.g. Philip Salvador, Joey Marquez, Robin Padilla) isa na siya sa pinakamalalaking bituin ng ABS-CBN. At halata namang may impluwensiya sa istasyon.

Ngayon full-coverage ang binibigay ng network sa luksa para kay Cory. At napaka-star-studded ng necrological service para kay Cory sa Miyerkules. Kakanta si Lea Salonga, Jose Mari Chan, Jed Madela, Zsazsa Padilla, etc. At yan ay dahil kay Kris Aquino, na kasamahan sa pinakamalaking TV network. Hindi ba ilang beses na iiyak-iyak si Kristeta sa mga programa niya para magpasalamat sa mga suporta sa kanilang pamilya habang nasa ospital si Cory? Hindi ba gusto mong yakapin si Kris nang tanggapin niya ang pakikiramay ni Imelda Marcos? (Oh, sadyang nagkabuklod-buklod ang mga Filipino!), at palakpakan nang tanggihan niya ang pakikiramay ni Gloria? Kaya hindi malayong ang lahat ng atensiyon at pagmamahal na binibigay ngayon ng buong bansa kay Cory ay kalahati galing sa tunay na paggalang sa dating pangulo at sa kanyang nagawa para sa bayan, at kalahati dahil sa imahen at dramang nabuo ng media (in this case ABS-CBN) sa pamagitan ni Kris Aquino. Nakikita din natin kung sino at ano talaga ang malakas na impluwensya sa madla.

Hindi na kailangan pa ng himala. Matagal nang sinabi ni Nora Aunor: Walang himala! Nasa puso natin ang himala!

National Artists 2009 anomaly

On Wednesday night the National Artists for 2009 was officially announced on television, and I was shocked to learn that there are seven awardees. Early last month we attended the National Commission for Culture and the Arts (NCCA) General Assembly at the Manila Pavillion, and we learned that the NCCA and Cultural Center of the Philippines (CCP)-led body for the selection of National Artists have officially submitted only four names to Malacañang for the Presidents confirmation. How come there are seven?

The original four names, according to insider source, are Federico Alcuaz (visual arts), Manuel Urbano a.k.a. Manuel Conde (film), Lazaro Franciso (literature), and Ramon Santos (music). The additional awardees are Cecile Guidote-Alvarez (theater), Francisco Mañosa (architecture), Carlo J. Caparas (film and visual arts), and Pitoy Moreno (fashion design).

While we don't question the inclusion of Alvarez, Mañosa, Moreno, and (OK let's give it to him for his work as komiks writer and illustrator, but never as filmmaker) Caparas, we wonder how the addition happened. And how come Ramon Santos was dropped from the list?

Malacañang issued a statement the day after that the President's role is purely ministerial, approving only what NCCA and CCP recommended. If this were true, somebody tampered with the official recommendation before it reached the President. There is something anomalous in the selection, and both NCCA/CCP and the Office of the President have a lot of explaining to do to keep the integrity of the National Artist awards.

Mamma Mia! de Valderrama

I've heard that there's a roadshow going around Antique since April. That's good. There's always a surfeit of talents in the province. But I was surprised that the roadshow was "Mamma Mia!" the musical. Mader naman.

I had the chance to watch the roadshow at San Pedro on Saturday, June 27. It was the bisperas kang bisperas. It was threatening to rain, but I forced myself because the boss instructed me to watch it and recommend if it be shown in San Jose. The producer, no other than Mayor Joyce Roquero of Valderrama, has been asking the Gov to sponsor a show in San Jose. OK. Fine.
Let me start with the givens: The show in San Pedro was at the bandstand, which was too small a stage for a performance, much more a musical. I was told the Aglipay Church has booked the wider covered multi-purpose gym, so Mamma Mia! had to settle for the alternative venue, despite impending rain. Thank god it did not rain that night. I guess the promoters were also surprised with the change in venue, and were not ready to provide seats for audience, so the audience stayed under the benches, a far 50 strides from the stage. We were viewing the play from a 45-degree angle, because that was the only availabe bench when we arrived. Worse, another PA system was blaring from the covered gym.

We were told the show starts at 7:00 PM; we arrived late at almost 8:00 PM but we waited until 8:15 to start. There was an emcee who introduced the show, stressing the following points: 1. The play features Panubason Artists - these are talented young people from Valderrama and elsewhere in the province. They were selected from a crop of winners and contestants of Valderrama town's Search for Singing Idols early this year; 2. The play is sponsored by Philippine Charity Sweepstakes and The League of Municipalities - Antique chapter (of which Mayor Roquero is chair); 3. This production is the first and only in the Philippines, as no other producers have done it so successfully; 4. That the actors are singing live and not lip-synching, contrary to previous impressions when the musical was performed in other towns.

The production is Mamma Mia!, which is actually a 10-year old musical that started at the West End in London in 1999. Like any successful production, it soon had its version in Broadway, in Australia, Tokyo, Thailand, and many other cities around the world. It was such a hit that a movie version was made, starring Merryl Streep and Pierce Brosnan, and a book version was also written. I wonder if which of these versions the Valderrama production is following. I also wonder if they got rights to produce the musical, or if they are aware that they need to pay royalties to produce the play, because if they didn't they are criminally liable under the intellectual property laws.

I had the feeling that the production took from the the movie version. Someone wrote the script that sounded like a declamation piece, as all the actors sounded like declaimers on stage, and the actors were trained to perform the musical pieces by listening to the music and imitating it including accent. In fairness to the actors, they were good singers. I cannot say the same in the acting department. For one, Marte Jun Granada, who plays Sky, needs to learn to tango to make that love scene with Sophie visually appealing. The girl playing Donna sings exceptionally well, but she is so small, she is overshadowed her Dynamos. And why were all the girls similar ly made-up and coiffed with hair extensions. All of them are too pretty, as if we were watching a beauty search. From our vantage point, it was sometimes difficult to identify Sofie from Donna, or from her friends. Especially that stage blocking was quite unobserved.

I think the production needs 1. a director who knows how to direct; 2. a choreographer; a musical director; 4. a stage and production designer. At the very least the last should have been present to avoid orange, red and fuschia costumes against a red curtain backdrop, or several unneccesary scene changes, unwanted blackouts, and obtrusive sets. The narration is extraneous, too.

Well, for what it was worth, I would give it to the talents who sang well, and performed relatively well as directed. I just wished that the creative team behind it thought out the staging, costumes and sets. An authentic 70's retro glam look, could have been interesting.
My recommendation for the Gov: If only for the talented young Antiqueños in the cast, it is worth showing. The music of ABBA is classic and entertaining. But I feel uneasy about public officials supporting foreign materials when local is wanting and needing support. I also fear that the talents are misguided, and the public misinformed. As a roadshow around the province, Mamma Mia! simply misrepresents both the borrowed material and local culture.

Hiraya's new komedya

Hiraya Theater Company premieres its new komedya billed "Ang Kapid" at the EBJ Freedom Park at 8:00 PM on May 28, to open the National Heritage Fiesta in Antique. The three-ay festival culminates the month long National Heritage Month celebration.

The new komedya "Ang Kapid" takes the first act from Hamtic's "Lucibar Filomeno" presented during the Komedya Antiquena 2007. The second act was written entirely by Alex C. Delos Santos, who also directs the play. Original music is by Bimbo Muyuela, choreography of batalla by Mclaurence Saligumba, choreography of gallarda by Alex C. Delos Santos. Technical direction and stage management by Janice Matias, production management by Richard Magbanua.

Actors include Mclaurence Saligumba as Portivillar, Jaylord Bantolo as Lucibar, Richard Salameda as Haring Cesar, Leda Tongcua Samar as Reyna Judith, Jean Matias as Pastora Jacobina, Jayro Oriel as Leandro, Ronel Guangco as Arturo, Jan Fredrick Nietes as soldado, and Lozel Lacbanes and Aljean Manalo as dama.

Hiraya Theater Company's first komedya "Kasanag batok sa sugal" had a national premiere on February 15 last year, during the National Komedya Fiesta at UP Diliman. It has also performed excerpts at the National Broadcasting Network's Sining Gising program. The same komedya was also brought to Cebu for the One Visayas Arts Fair at the Cebu International Convention Center, Mandaue City.

Hiraya's other productions include "Fray Botod" and "Kahon". The theater company represented Antique at the International Theater Week and MDG Summit at Intramuros in March 2008.

"Ang Kapid" is Hiraya's entry to the Komedya Antiquena 2009. It is supported by Binirayan Foundation, Inc., Antique Provincial Historical and Cultural Council, Cindy's, Piedra Restaurant, Arjee's Restaubar, Christine's Grill & Resto, Bread and Butter, Chowking, Paul & David's Batchoy, The Pinnacle Suites & Functions, Balay Lokal, and Datu Lubay Center.

New resto in San Jose

Last night wiz magawa ang mga beauty namin ni Weng, kaya pagkatapos ng rehearsal ko ng komedya sa plasa, napagtripan naming magdinner sa bagong bukas na Dah-bah Resto sa Gobierno Street. Curious lang kami kung ano ang mahihita namin sa resto na ito at kay tapang-tapang tumapat sa classy Piedra Restaurant, at tumabi sa isang chipangels na videokebar.

Sa pangalan pa lang na Dah-bah (ganyan po talaga ang ispeling), may ka-OAhan na ang restong ito. Plus the fact na more than one year in the making ito, gamit ng indigenous materials pa. Talagang pinagtiyagaan ang disenyo nito. Mga Hunyo last year pa sinimulan ang paggawa nito, pero May 8, 2009 na nang nagbukas. This better be good, sabi namin ni Weng. Sa signage pa lang ay talagang malaki ang investment ng may-ari dito. Kailangan ng dalawang kongketong poste na bricks-finished para kumarga sa napakalaking panaflex na hugis daba o isang malaking palayok. Obviously dito nanggaling ang maarteng pangalang Dah-bah.

Pagkapark pa lang namin ay binati na kami ng isang murat na nakahotpants, at munti ko nang mabangga ang isang malaking clock gawa sa chrome, na korteng manibela ng barko. Seaman ang may-ari? Zigzag shape pa ang pintuang gawa sa kahoy. Ang flooring ay hindi kawayan kundi spliced na puno ng isang klase ng bungang sa bundok lang nakukuha. Ang interior walls ay puro bagakay, at pati ang shade ng lights ay pinag-isipan ding gawa sa kawayan. Ang mga bar stools ay complementary din sa interior, puro hardwood ang tables. Kaya lang monoblock ang chairs. In fairness, kulay tan din to blend with the walls. Kailangan lang palitan ang Chinese-inspired frame na mukhang binili sa naglalako ng pahulogan on weekends. Am sure mas babagay ang mga framed na larawan ng mga prutas o kaya pagkaing Pinoy, o eksena sa baryo. Kung kayang bumili ng Amorsolo mas bongga, pero kahit imitation o print na lang.

May mga tatlong tables na okupado na, isang long table na parang family affair sa right side pagpasok, may isang group ng mga utaw led by isang chub na later nakasalubong ko from the restroom ay barangay kapitan pala ng Tigmamale. Chika naman kami ng lola. Sa kabilang side ay may dalawang mamang nakasando, at mukhang kilala pa ako nung isa, so may I smile naman aketch. Sa gitna na lang kami umupo ni Weng, kasama ang anak niyang si Miko. Yung isang waiter ay kilala pa ako dahil estudyante ko pala dati sa St. Anthony's College. Lumapit ang isang girl para ipakita ang menu, na sinulat sa dalawang pirasong bond paper. Handwritten talaga. Hind pa daw natapos ang kanilang menu list. OK.

So ask ako ng specialty of the house. Wisnowang pa yung waitress so may I ask pa sa kitchen. Crispy pata daw, sabi pagbalik niya. Tinginan na lang kami ng mahadera kong kasama. Di ba Crispy Pata naman ang specialty ng halos lahat na inuman? Mother, wiz yata resto ito. Beerhouse yata. So check uli sa menu. We settled for steamed tilapia, pinakbet. Pinalitan ko ang unang choice na sinagang na spare ribs to sotanghon guisado.

Yung sotanghon guisado malabsa, at lasang sesame oil; nahaluan pa ng luya. Aksidente lang siguro sa kitchen. Sinabi ko yun sa waiterlu, na dali-dali namang pumasok sa kitchen. OK lang, nakain ko na ang kalahati bago ko nakagat ang luya. I like luya naman, pero never sa sotanghon. Yung steamed tilapia is smothered with mayonnaise. Siguro sa Valderrama bongga ang mayonnaise. Pero tilapia ang gusto naming kainin hindi mayonnaise. Pinahiga pa ito sa bed of shredded repolyo kaya may ka-cheapan ang dating, plus sa melaware na pinggang puti. It didn't help at all. Ang medyo winner lang ang pinakbet na nakalagay sa buong kalabasa. Bongga naman ito. Hindi palayok kundi kalabasa. We hoped lang na masustain nila ang supply ng kalabasang may ganung size. Paano kung tag-ulan na at wala nang kalabasa sa San Remigio o Valderrama - the vegie baskets of Antique? Pero ang lasa ng pinakbet ay puro ginamos. Ang verdict: kariderya ang napasukan namin.

Rooms for improvement: kung seryosong wholesome, family place resto ang drama nitech, pakipalitan naman ang song selection sa napakaloud na speakers. Dambuhalang speakers pa ang ginamit, lola. May sound system din yata sala. Medyo maingay na disco tune ang tugtog kaya nagrequest kami ng mellow music. Aba, sinalang ba naman si Josh Groban na ngumangawngaw ng "To Where You Are." Feeling ko tuloy necrological service ang napuntahan. Suggest ko maghanap sila ng CD ng mga guitar Visayan folksongs, para babagay sa ambience. Yun ay kung totoong restoran ang gusto nila at hindi beerhouse. Kailangan ding i-train ang waiterlu na huwag ngumuya ng kung anu-anong pinulot sa kitchen habang nagsi-serve ng food. Buti na lang may kagwapuhan siya. Palitan din ng mas mamahaling ceiling fans. Yung mga plastic na made in China ay di na iikot pag-uminit na ang makina.

Plus points: Malinis ang CR, may lababo for hand-washing (kaya convinced akong resto talaga sila).

Ang ending, walang kwenta ang dinner namin. Buti na lang marami kaming topics for discussion ni Weng. At cheap lang ang dinner. May sukli pa ang 500 na binayad namin. Pinatake-out ko yung kalabasa.

New EBJ Freedom Park

EBJ Freedom Park in San Jose, Antique gets a facelift with the addition of the children's playground, and a walkway lined with more benches.

The park is filled with children and park-goers every afternoon. It looks like San Jose is getting a more active civic life, which is good. I hope park-going does not stop with the opening of Gaisano Grand Mall in June. There is a plan to build a civic center for senior citizens. That is a great idea.

The landscape of EBJ Freedom Park has changed a lot from how it looked like in the 70's when we were kids. There used to be a huge Mango tree in middle, where the EBJ statue is now. People are happy that the swing, seesaw and monkey bars are back in colorful versions, and the cluster of slides are always full of children.

It is also worth mentioning that the streets around EBJ Freedom Park are filled with new establishments, like Mang Inasal in what used to be the old Chinese school, and the new RCBC and RML Manokan in the new building in what used to be old Coca-Cola bodega, where my classmate Joan Montinola lived.

The park was our only playground then. We lived along Carretas Street, now Governor Villavert Street, and all the kids in the neighborhood gather at the park after school. I remember my playmates Mark Pe, Franklin Pe, the Marquilleros - Joe Rey, Gemma, Sonia, Micmic Pe, Pokwang, the Granadas, and many others.

Joey Ayala at EBJ Freedom Park

Joey Ayala performs at the Saduk Stage of EBJ Freedom Park, San Jose, Antique on April 26 to open the three-day highlights of the Binirayan Festival. Governor Sally Perez, despite exhaustion from the long walk from Malandog to EBJ Freedom Park for the torch parade, stayed on until the concert was over. She even bought a CD and went backstage after the concert for Joey's autograph and photo ops. Joey has a new fan in Inday Sally.