PIPPIN Montage

Why Pippin is an astounding experience.

"Corner of the Sky" and the songs of "Pippin"

Return of the incredibly fantastic Broadway musical "Pippin" in 2013, Tony Award Winner for Best Musical Revival this year. Thirty years ago it was premiered in Manila at the PICC with Tony Espejo as director and Tony Fabella as choreographer. I was one of the players/chorus dancers in that local version that starred Maricris Bermont, Tommy Abuel, Dodo Crisol, Fides Cuyugan-Asensio, Michael Uytengsu, Audie Gemora and others. "Corner of the Sky" is one inspiring song I kept singing years later in Bahaghari.

So there was really a Lemuria in the Pacific

Leonid and Zodiacal Light from Stephane Vetter on Vimeo.

The night sky that us, humans, have wondered about since time immemorial. Relevant in these days of the end of a world age and the beginning of a new one. It's 2012. From Stephane Vetter: Leonid and Zodiacal Light.

Salubong at Sayaw ng Bati in Mogpog

Salubong, (meeting), dramatizes the meeting between the Blessed Mother and her Ressurected Son, staged very early during Easter mornings through two processions meeting in a designated area where Sayaw ng Bati is then performed. A re-staging of these Holy Week rituals was held in Mogpog as the town's contribution to the Viva Marinduque project, part of the annual celebration of Philippine Arts Festival in February of every year.

Bulong scenes

. Engkanto and Asuang confront Salve in a scene from Bulong. Bulong in Marinduque is the collective name of spirits that unknowingly take their victims or subjects to another realm, supposedly experienced by some inhabitants of Marinduque.

Burial scene after a tragic fight between the natives and foreign intruders on the island.

After her ordeal in the spiritual realm, Salve returns and meets the old woman who was the last person she saw before being brought to the other world.

some marinduque cultural symbols

Old Boac Cathedral

Reconstructed Boac Cathedral

The Boac River, destroyed in 1996 mine spill

Nature's design? Moriones watching Teatro Balangaw's Mara Unduk play on the environment

Looking back at Mara Unduk

Marinduque's pre-colonial anitos.

Malindig volcano and Tres Reyes Islands in Marinduque



A burial scene from Mara Unduk













Article from Business World with Teatro Balangaw photo.


"...villages were submerged in mud and sand, bringing havoc and destruction once again."

Mara Unduk performance for the Southern Tagalog Kundiman Fiesta".

Mara Unduk performance at Daupan Festival for the Centennial of Philippine Revolution.


“Teatro Balangaw, Marinduque’s community-based theater group, will present “Mara Unduk”, a dance-drama based on the island’s mythical history as gathered from folklore. The play, first presented by the group three years ago, delivers a clear message: Nature’s violent and deadly acts are brought about by man himself. The theme is considered very timely, in the wake of the mine tailings spillage in Boac river recently, a problem which Marinduque is still recovering from at present.” (Marinduque Cultural Show Today, Manila Bulletin, May 5, 1996)


























“The highlight of the program for the first day, The Story of Mara Unduk, was such a success. If the thundering round of applause could not compensate for the stress and pressure brought about by late night rehearsals, I cannot think of anything else that could. Tatlong bagsak para sa Teatro Balangaw!” (Daupan Festival Newsletter, Sept. 17, 1996)









Culminating performance at the Children and Youth Theater Festival, Fort Santiago





Bahaghari








Jubilation after a performance

















A workshop with his blogger, 2008.


“Akala raw ni Benjie hindi magsisimula ng 7 p.m. ang show kaya almost 9 p.m. na when he decided to bring us back to the town plaza. Only to discover na nagsimula na pala ang Mara Unduk at matatapos na halos. Kaya hindi na nakasama si Jeffrey Santos as the supreme god “Bathala Meikapal”! (Star Nga Ba?, Alfie Lorenzo, People’s Journal, Dec. 11, 1992)

Mara Unduk

Myths and legends are told, retold and re-interpreted. Events, characters and symbols intrinsic to such stories are said to contain certain truths, sparks from the subconscious, that find fufillment in time. This 1992 material, MARA UNDUK that was presented by the Teatro Balangaw group as a dance-drama from Marinduque villages to audiences at Nayong Pilipino and Fort Santiago appear to have come full circle now, as most of the episodes and characters in the story have, it seems, all rendezvoused with their own destiny in the real world. Others just refer to this seeming phenomenon as plain art imitating life again and again...or life imitating art:

In the days of Bathala, when two moons still sailed the sky the earth was inhabited by highly-gifted spirit-people who lived in harmony with all existence. Such incredibly immense powers they had, for they controlled the four elements of Fire, Air, Water and Earth. Over time, however, they became too proud to the point that "Mayana", the Goddess of the Lower Moon, was angered, smashing her lunar abode onto the Earth. This was known as the First Upheaval - that which caused an island to spring from the sea. The few survivors named it "Mara Unduk", sea mountain.

The Earth was left under the care of the gentle Goddess of the Higher moon, "Buwana". A new order was established under the rule of the sorcerer, "Katalona", who dominated the people's lives. But the survivors who have learned to hunt for food have forgotten who they were or where they came from. They had no notion of their destiny.

Strange dreams haunted the people for a long time and, to understand them, a ritual was held one day. The young maiden, "Baylana" was bathed in incense and flower extracts and was put to sleep. In a trance, she spoke with the voice of the spirit protector, "Marindik".

"Alon", a hunter serving as the sorcerer Katalona's apprentice falls in love with Baylana. The relationship ended in a tragedy for the young maiden and for Katalona. For the sorcerer, Alon's mission to chart his people's destiny was loftier and more important than Alon's love for Baylana.

Such lawlessness and disorder descended upon the village that the people lost their sense of hope and direction. Marindik was displeased that she caused her dwelling on the mountaintop to emit burning rocks, and for heaven to weep. The villages were submerged in mud and sand, bringing havoc and destruction once again.

In the midst of it all, Alon finds union with his primeval past, experiences unity with the elemental spirits and with all existence. The enlightened Alon thus becomes whole again - the new TAO - the one to lead his people to their rightful and glorious destiny.

"Ang Kristo, Pasyondula"

Scene from the premiere presentation of "Ang Kristo: Pasyondula", Buenavista, Marinduque, April 12 & 13, 2006.

Malindig peak

How it looks like at the peak of Marinduque's Mt. Malindig. Malindig was derived from the word "malindug" which means steep and elegant. It was the inspiration for Teatro Balangaw's first dance-drama, "Mara Unduk" presented at the Boac Covered Court in 1992, on the occasion of the Boac Town Fiesta. The dance-drama was a re-interpretation of Marinduque's folk history.

GINTONG BINHI, golden seed

“GINTONG BINHI”, the 1st MIMAROPA Arts and Culture Summit, part of the NCCA Institutional Promotion in the Regions was conducted on February this year as part of the Philippine International Arts Festival 2010 and 90th Anniversary of "Araw ng Marinduque". Venue was at the Provincial Training Center in Tamayo, Sta. Cruz, Marinduque

The project was an offshoot of the 1st Luzon Arts and Culture Summit held in September last year in Malolos, Bulacan, and participated in by representatives from Marinduque led by this blogger. The Marinduque project was designed to promote the NCCA programs in the region; refresh the skills of Arts Councils & Organizations in Program Development, Project Management, & Proposal Making; establish NCCA desks in LGUs, schools, & cultural institutions; reinforce the LGU-NCCA partnership in arts & cultural promotion; and organize an adhoc of Regional Arts & Culture Network in the region.

Above are the participants to the forum who came from Occidental Mindoro, Romblon and the six Marinduque municipalities.

Walang Sugat in Marinduque

"Walang Sugat", the well-loved sarswela masterpiece by Filipino librettist Severino Reyes was presented in Marinduque in February 18 & 19, 2010, only the second time it was seen on the island after more than a century. This zarzuela was first presented here in 1902 on the occasion of the Boac town fiesta with no less than then Fiscal of Tayabas and future Philipine president, Manuel L. Quezon as guest of honor.

That original production was mounted by Gran Compania de Zarzuela Tagala of Manila and was brought to Marinduque in the same year it was premiered to the world.

The 2010 production was staged by Barasoain Kalinangan Foundation, Inc. (BKFI), recipient of CCP's Gawad para sa Sining as best theater group in the Philippines.

The project highlighted the 90th Anniversary of "Araw ng Marinduque" and Philippine International Arts Festival 2010 celebration on this island, spearheaded by the provincial government of Marinduque in cooperation with National Commission for Culture & the Arts (NCCA), CCP, BKFI and the island-province's six municipalities.

The occasion also served as an avenue to promote NCCA programs and partnership with LGUs in the MIMAROPA Region with the holding of the "Gintong Binhi" the 1st Mimaropa Arts & Culture Forum

VIVA MARINDUQUE! Ani ng Sining in Marinduque 2009

The project was conceptualized in response to an invitation from the NCCA to propose a project in line with the celebration of the Philippine Arts Festival in 2008, where the province of Marinduque was involved.

A grant of PHP 100,000.00 was given by the Commission to the Provincial Government of Marinduque, and quick response from all sectors to support the project was likewise accorded.

In 2008 Ani ng Sining in Marinduque was undertaken via a cultural showcase that included the various art forms from February 6-26, 2008. A series of shows was presented in all the six (6) municipalities of Marinduque that involved 100-120 artistic and production staff.

All the municipalities contributed their own showcases/numbers through songs, dances or plays, making it a truly unifying project. It might have been the longest Philippine Arts Festival held in a particular locality.

Critical acclaim to the project by those who were able to watch it was strengthened by two separate resolutions – one from the Sangguniang Panlalawigan ng Marinduque which praised the project for having “exuded the province’s unique culture, customs and traditions which were hailed by most of those who witnessed the various activities and presentations relative to the same”

and “ despite the limited time and budget of the provincial government and the six municipalities, it did not constrain them from organizing a committee that made the event a success and even strengthened a collaborative effort with the national government offices/agencies and other organizations that led to such an achievement”.

The second resolution was adopted by the Sangguniang Bayan ng Gasan which stated that “those who were able to watch the presentation of this theatrical production can not help but admire the depth of its message, the beauty of its choreography, and the craftiness of its adaptation of light and sound effects and musical scoring”,

that “Viva Marinduque is truly reflective of the richness of Marinduque’s beliefs, customs and traditions, and can also be an effective vehicle in the preservation of these cultures”;

further stating that the participation of Gasan youths “in this theatrical production have elevated them to a new dimension of skills, confidence and discipline” and that Viva Marinduque “is worthy of watching again and again and again”.

The project encompassed popularly known Marinduque rituals and traditions such as “Putong” and “Moriones”, as well as pre-colonial beliefs and practices, its native language (Marinduque Tagalog), considered, according to a study, as the root or among the roots from which modern national forms of speech have sprung,

mysticism, native dances, and recently discovered old Marinduque songs and music, original contemporary songs and other artistic expressions (festivities, theatre, traditional crafts, native musical instruments, morion masks and other masks, visual arts and showcase of live butterflies).

Production numbers organized by the various municipalities during the performances in said municipalities shall be part of this project.

In line with NCCA’s stated objectives for the arts festival celebration the project’ objectives were:

1. To celebrate the fruits of the creative efforts of the past year’s artistic creations.

2. To promote the Filipino creativity, specifically of local and indigenous talents, through various forms of artistic expressions.

3. To provide a venue for broader participation in creative activities.

4. To drumbeat “Araw ng Marinduque” as a new avenue for cultural-tourism promotion and development in the province.

The project also aimed to raise the level of cultural awareness among local artists and the community, in general.

It was expected to pave the way for the honing of local talents, as well as strengthening their network among other artists, cultural workers and arts enthusiasts within and beyond the island-province.

The project was, likewise, seen as a rare opportunity to raise the level of local and national awareness on Marinduque’s rich cultural heritage.

Specifically, the following were re-staged:

1. “MORYONAN” – a dance-drama on Marinduque’s famous Lenten tradition). Twelve (12) actors shall perform this new dance that depicting the initial preparation of ‘moriones’ practitioners up to the mock chaseing, capture and beheading of Longhino. Other Holy week rituals shall be incorporated in the re-mounted production.

2. “BULONG” (pronounced Boo’-long) – a dance-drama on teleportation, a belief that old folks and the young in far-flung areas still cling to. The travel into another dimension in time and space is used as a device to present different folk beliefs and episodes in Marinduque’s cultural evolution, i.e. pre-colonial Marinduque, local customs and traditions, belief in anito (Pastores), underworld characters (aswang, enkanto, white lady, duwende, etc; introduction of Christianity, clashes with pirates, etc.

3. “AWIT SA PULANG LUPA” – a dance-drama with original song by Eli Obligacion on the battle of Pulang Lupa, where Filipinos staged a major victory over the Americans. The brief drama shows how the community was disrupted by the arrival of American troops who engaged the local revolutionaries in a battle that exploded at Pulang Lupa; the defeat of the foreign invaders and eventual surrender.

4. “KALUTANG” (Wooden musical instruments) – to be performed by the only known group of young boys and old men who have mastered Kalutang playing.

5. “HARANA” – local songs of courtship

6. “PUTONG” – the local welcome or thanksgiving song-and-dance ritual given to honorees that involves crowning them with flowers, showering of petals and leaves, tossing of coins and fun.

7. LOCAL FOLK DANCES & FOLK SONGS – provided by the Marinduque State College, through its cultural group, "Sambayang Sining Lahi".