1995 – The Unpublished Dances of the Philippines – Series 3

CULTURAL CENTER OF THE PHILIPPINES
Presents
THE RAMON OBUSAN FOLKLORIC GROUP

UNPUBLISHED DANCES OF THE PHILIPPINES
PART III
Tanghalang Nicanor Abelardo
CCP Main Theater
May 26 to 27 , 1995
8:00 PM

THE CULTURAL CENTER OF THE PHILIPPINES

Message

It is with great expectation that we await the performances of the “Unpublished Dances III” of The Ramon Obusan Folkloric Group at the Cultural Center of the Philippines.

This third of a series of the Unpublished Dances manifests the great commitment of this dance company to pursue the discovery and preservation of the many Filipino traditions.

Tonight, you will see the “world premiere” of these dances unearthed by Mr. Ramon A. Obusan from the dustbins of places as far as Rapu-rapu, Albay in the Bicol region and in Jolo, Sulu down south. For this, we congratulate Mr. Obusan and his company for their painstaking work in the recovery of fragments of our lost traditions through dance and music.

FRANCISCO F. DEL ROSARIO, JR.
President

DEANNA ONGPIN RECTO
Artistic Director/Vice-President

THE RAMON OBUSAN FOLKLORIC GROUP

Founded in 1971, the Ramon Obusan Folkloric Group (ROFG) started as a fledging folk dance company, composed of not more than thirty performers. Leaning on the vast amount of data and artifacts that he had accumulated, Ramon Obusan thought of starting a dance company that will mirror the traditional culture of the Filipinos through dance. The company’s main drive then was authenticity while keeping a flair for good theatre, the same principle that governs it today. For its twenty four years of existence, the ROFG has created a niche in the world of dance as forerunner of Philippine dance performed closest to the original. Boasting of over a thousand performances both here and abroad, the ROFG is one of the leading folk dance companies of the Cultural Center of the Philippines in 1986. Under the able leadership of its founder and Artistic director, Ramon A. Obusan, it has so far gone on three successful European tours performing in 13 countries including Belgium, Germany, Switzerland, France, Amsterdam, Luxembourg, Czechoslovakia, Yugoslavia, Greece, Italy, Spain, and Austria in 1987, 1990, and 1993. In the 8th Hongkong Festival of Asian Arts, critics showered the ROFG with praise describing it as “the stuff an arts festival should be made of”. Three years after, in the 1986 Expo in Canada it’s 21 shows ended in 21 standing ovations. The group was the first Filipino performing artists to receive resounding applause and standing ovations for all its performances in Japan under the auspices of the Min-on concert series in 1989. The following years the ROFG performed in Singapore, Taiwan, Korea, Hongkong, and again Japan. The year 1982, “Sayaw” – a CCP video-documentary on Philippine Dance directed by Mr. O busan and participated in by the ROFG, won the Grand Prix award in the “International Video Dance Competition” in France. The following year, the second video “Sayaw” – Philippine Ethnic Dance again directed by Mr. O busan won honorable mention in the same competition in Russia. The ROFG had its first extensive American Tour in 1994 visiting 16 states and capped with a proclamation of February 8 as the ROFG Day in Cleveland, Ohio. In Asia, the group had proudly represented the Philippines in the various dance festivals and conferences earning accolades for this endeavors. Along with this, Mr. Obusan was chosen as the Artistic Director of the first Asian Dance Company. From June to November of ’94 ten of ROFG members were in the Asian Village of Sentosa Island Resort in Singapore, performing not only Philippine dances but also dances of the other Asian countries. Though steep with international recognition, the ROFG has never forgotten the people who are the very source of its pride. For the past two decades it has documented the rituals of more than 50 Philippine ethnolinguistic groups, and helped in the creation and revival of over fifty folk dance troupes in the country worldwide as well, at the same time spearheaded in the revival of festivals. Endless touring has brought them to various provinces through it.s outreach programs. With about twelve outstanding full-length Filipino dance works, among which are the remarkable suites from the Cordillera, the Bagobo, the Tausug, the Maranao and the Negrito, the ROFG has served to highlight the authenticity of the movements and costumes of these people These efforts have not gone unnoticed for in 1993 “for his scholarly researches into Philippine folk dances and art forms; for his relentless pursuit of excellence in traditional dance and music; and for his stewardship of an outstanding Filipino performing group …”, Mr. Ramon Obusan was conferred the CCP GAWAD PARA SA SINING PARA SA SAYAW. In the same year, he was also awarded the “Gabay ng Sining at Kalinangan” in the City of Manila’s Parangal sa Sining at Kalinangan. In October 1995, the ROFG will represent the Philippines in festivals to be held in Greece, Turkey, Paris and London. Today, with over 100 dancers, the ROFG humbly celebrates twenty-four years of fruitful existence and service to the Filipino people. To the ROFG there is no stopping in the pursuit of recording and staging of fast fading traditions.

PRODUCTION STAFF

RAMON A. OBUSAN
Over-all Artistic and dance director, choreographer, production designer, concept and script

ALFREDO R. Q. GOMEZ
Lighting Designer

NESTOR CORTEZ
Technical Director

RAUL NEPOMUCENO, JR.
ROWELITO FERMIN
RANDY GUEVARRA
CHERRY YLANAN
Dance/Rehearsal Masters

EMELITA MEDINA
MARCIAN VIRI
Costume Masters

ROMEO MEDINA
Props Coordinator

SERGIO ANLOCOTAN, JR.
SHERWIN SANTOS
Transportation Coordinators

CCP CULTURAL PROMOTIONS
Video Coverage

PERFORMERS

The Ramon Obusan Folkloric Group
Cherry Ylanan
May Liwanag
Marie Ruby Alejo
Emelita Medina
Sharon Gustilo
Rouvella Serrano
Evelyn Teves
Gemma Condalor

Romylyn Frias
Adelita Busano
Regina Munoz
Raul Nepomuceno, Jr.
Lyle Eymard Villahermosa
Randy Guevarra
Rowelito Fermin

Marciano Viri
Sergio Anlocotan, Jr.
Sherwin Santos
Christopher Cervantes
Rolando Jorge
Eddie Guarin
Renato Castelo

SLPC – Sinag Banahaw Cultural Troupe (Lucban, Quezon)
Maricel Cosejo
Jerlyn Babia
Judy Ann Macaraan
Sonia Anoso
Marjorie Dayo
Mira Luna Zunico

Mary Jane Dumlao
Crisel Vargaz
Ronaldo Riparip
Grege Anoso
Cesar Ryan Ellaga

Dionisio Barredo
Victor Francia
Roderick Baasis
Cherwin Zarsuelo
Erico Ybardolaza

“”Freeway” Dancers (Meycauayan, Bulacan)
Richard Hervas
Christopher Mangalindan
Dindo Eerni

Rodelito Giron
Rommel Rivera
Edwin Vasquez

Jacklord Francisco
Mervin Rodriguez

PNU – Philippine Normal University
Bernard Laguda
Ralger Jocson, Jr.
Antonio Biol
Kerr Villamil

Dionel Fernandez
Rubilyn Demonteverde
Eva Cheryl
Legada Maricris Birao
Floremil Suerte
Cheryl Gabana

Instrumentalists

Orlando Ocampo
Romeo Medina
Michael Bayani
Ricardo Perocho
Carbert Florido
John Sublawon
Ernesto Layug

RESEARCH – Gaddang group of Aurora, Isabela, 1994
RESEARCH – Gran Batalla in action, Nabuan, Santiago Isabela, 1994

RESEARCH – Mandaya maidens with Ramon A. Obusan
RESEARCH – Bagobo lady training Ramon A. Obusan a traditional dance Upper Sirib, Calinan District, Davao, 1973

Nubenburg, Germany, 1993
Tokyo, Japan
ACKNOWLEDGEMENT
Our hearts are filled with special thanks to the many people and groups who unselfishly gave their services and love for Philippine dance that it may continue to prosper and live.

1. ALBAY (For Sinakiki, Carinosa, Rapu-rapu, Pastores Camalig, Pantomina Legaspi) – Ms. Myrna Catangue, Chief, Bureau of Elementary Education, DECS – Dr. Mauro Nieva, Head, Pastores Camalig Group – Ms. Pilar Hilario, Director, Dep’t. of Tourism (Bicol) – Mayor of Rapu-rapu – Ms. Delia Rebustillos, Dance teacher in ballet and folk (Legaspi) – Rapu-rapu dancers
2. BATANGAS (For Sublian) – Mayor Ed Dimaguiba, Mayor, Batangas City – Mr. Ed Burbon, Staff, Lyceum of Batangas – Subli dancers of Talumpok, Batangas
3. BUKIDNON (For Tawgon Hapnon) – Mr. Boy Tabios, Governor, Malaybalay, Bukidnon – Ms. Ruth Laygo, Professor, Bukidnon State College – Talaandig Performers
4. CAMARINES NORTE (For Pastoers) – Ms. Christina Carasco – Talisay Pastores Group
5. CAMARINES SUR (For Lanceros de Iriga) – Dr. Mimie Arroyo, Chief, OSCC, Bicol – Ms. Belen Jacob, Staff, OSCC, Bicol – Mr. Martin Mirando, Musician, Ilian Settlement, Iriga – Agta of llian Settlement, Iriga
6. ISABELA (For Comedia) – Ms. Amelita Navarro, Vice-Mayor, Isabela – Mr. Mario Oscaris, Head, Nabuan Comedia Group
7. MASBATE (For Lapay Bantigue) – Mr. Rene Castillo, P.E. Supervisor, Masbate DECS – Fisherfolks of Bantigue Island
8. MARAWI (For Sagayan Kulong) – Sining Pananadem Group of MSU
9. NEGROS OCCIDENTAL (For Regatones) – Prof. Ruben Demonteverde – Dr. Mijares
10. NEGROS ORIENTAL (For Inagta) – Kggd. Mariant Villegas, Councilor, Negros Oriental – Mayor of Siaton, Negros Oriental
11. QUEZON (For Abaruray) – Ms. Belen Paglinauan, Jesus Loved Flock, Catanauan, Quezon – Benigno Manlangit, Dancer, Informant, Catanauan, Quezon
12. PALAWAN (For Sayaw sa Cuyo) – Mayor Antonio Ponce de Leon, Mayor, Cuyo, Palawan – Children of Cuyo Island, Palawan

REPERTOIRE

PUTUNGAN
1. SARONG BANGGI (Song – BICOL REGION)
2. SINAKIKI (MASBATE)
3. CARINOSA (ALBAY)
4. PANTOMINA (ALBAY)
5. PASTORES CAMALIG (ALBAY)
6. MANMANOK (ILOCOS NORTE)
7. SUBLIAN (BATANGAS)
8. PANGALAY SA AGONG (SULU)
9. TAWGON HAPNON (BUKIDNON)
10. SAKPAYA (IFUGAO)
11. BENDIAN (BENGUET)
12. REGATONES (NEGROS OCCIDENTAL)
13. LAPAY BANTIGUE (MASBATE)
*
INTERMISSION
14. GRAN BATALLA (ISABELA)
15. ABARURAY (QUEZON)
16. SAGAYAN KULONG (LANAO DEL NORTE)
17. CUYO (PALAWAN)
18. SAMBALAI (ISABELA)
19. TUPUKAN SA MALONG (COTABATO)
20. INAGTA (NEGROS ORIENTAL)
21. BINAYLAN BANOG (MISAMIS ORIENTAL)
22. LANCEROS DE IRIGA (CAMARINES SUR)
23. NENENG KULIBANGBANG (SONG)
24. BUTI-BUTI (SULU)
25. BOLUNTARYO (ILOILO)
26. PASTORES TALISAY (CAMARINES NORTE)

SARONG BANGGI – (Bicol Region) – The most popular of Bicolandia’s song is our opening number. It shows the softness but firm spirit of the Bicolanos. Given a new treat, this standard is set in an early evening mood in an all-white ensemble.

SINAKIKI (Albay) – To the Tagalog Sinakiki connotes an unpleasant thought but to the Waray it means the flirting of a love-struck rooster with his ladylove. This dance comes from the small island of Rapu-rapu, whose fiestas are fun and food layden that neighboring Samar comes by boatloads. After partaking of the feast, dancing commences, Sinakiki being thier favorite and since then it has been a part of the Rapu-rapu’s dance repertoire.

CARINOSA (Albay) – Nationwide popular, this courtship dance has its unique version found in Rapu-rapu island. Together with lyrics songs during the dance it has a couple of new movements in the more popular version.

PANTOMINA (Albay) – Weddings are the most likely events where one sees Pantomina danced. So easy to mime, as the name implies, that one strung of a guitar, an itchy-footed, couple hugs the centerlight and displays their Pantomina. This “hele-hele bago quere” version was taught to Mr. Obusan by Ms. Delia Řebustillos of Legaspi.

PASTORES CAMALIG (Albay) – The Pastores tradition was thought to be Bicol’s monopoly, but research reveal that there are other Pastores groups danced as far north as Sanches Mira, Cagayan called “Infante” and as far south as Samar, Leyte, Bohol, Cebu, Negros, Zamboanga and Dapitan – each as varied as the place they come from. Most Bicol towns have their groups of Pastores of Christmas shepherds performing in front of houses for a small token. This cersion comes from the town of Camalig.

MANMANOK (Ilocos Norte) – Literally means fowls. Three Bago tribe roosters flirt around their lady-love using a colorful blanket each to attract her.

SUBLIAN (Batangas) – Townsfolk of Talumpok, in their twilight years feature in this ritual dance. The men in frail camisa de chino shirts romp vigorously and straineously about doing bird-like gesture unexpected of their stamina and age while women i their pinukpok skirts and stiff kanyamiso tops sustain poise and grace in every step they take putting a celebrated ballerina to a shame.

PANGALAY SA AGONG (Sulu) – A variation of the Tausug’s traditional dance, Pangalay. Two warriors vie for the attention of a lady both using agongs to show their prowess and skill.”

TAWGON HAPNON (Bukidnon) – “A call in the afternoon”, and a notice to all villagemates that a Talaandig mother’s time has come. It also is a call to women neighbors to help “labor” with the mother and alleviate her sufferings. Miniature cloth hammocks hung outside the house to serve as warning for all to heed. No man, even her husband is allowed to go close to the house not until the baby is born.
.
SAKPAYA (Ifugao) – Callous hands dig the hard soil, push heavy stones off the cliff to give way to the making of a new field part of the world famous rice terraces of Banaue. High-flying sakpaya birds swoop and hoover over the terraces. The Ifugao know they are gods in disguise. In times of plenty, the farmers don their traditional costumes and with references and respect fly like their “sakpaya” gods.

BENDIAN (Benguet) – Welcoming the arrival of successful headhunters, Benguet maidens of the Cordillera mountains carry baskets laden with farm products and perform a victory dance. Today the onee-fierce headhunting Benguet are peaceful keepers of the vegetable bowl of the Philippines, La Trinidad Valley.

REGATONES (Negros Occidental) – Unique in their approach, the Regatones or fishemen of Cadiz, Negros leading fishing town, not only fish but vend their catch in baskets balanced on shoulder poles. Their manner of selling wins them the village maiden’s admiration. This number is performed by the Philippine Normal University dancers of Cadiz.

LAPAY BANTIGUE (Masbate) – While other fishing villages boasts of boatloads of fish in the island of Bantigue has beachful of dancers happily gyrating in immitation of the swooping and gliding of lapay or seagulls plentiful in their beach.

GRAN BATALLA (Isabela) – With the grains cut and tucked away a Gran Baralla (Grand battle) follows. The only comedia performed over rice field, it is both a vow and thanksgiving by several members of an extended family of Nabuan, Santiago. One family plays Christians and the other Moorish.

ABARURAY (Quezon) – “Aba Aurora” greets a gentlemen as a lovely senorita passes by. This courtship dance features the coyness of the Quezon lass.

SAGAYAN KULONG (Lanao del Norte) – Sniffing burnt kamanyang , Maranao warriors sing the Marinao while working into a trance, a prerequisite to a mock-battle fought amongst themselves or by unseen adversaries, the tunongs.

SAYAW SA CUYO (Palawan) – Young girls flaunt lace kerchiefs as part of this lilty mazurka. Paper crowns render from epitomy of lovely princesses.

SAMBALI (Isabela) – Santiago (St. James) came to the Philippines as the battle-cry of the Spanish soldiers. Evangelist claims that in Spain he single-handedly fought the Moors and other non-believers. In Cabagan as well as other parts of the islands, 400 years later, the story was remounted to fit into the Philippines setting. All those outside the Christian faith were called sambal. Today, Cabagan’s Sambali in comedia form features the Christians fighting the Sambals in a mock battle. A Kalinga tribal crept into today’s Sambali. The Christian in white and the Sambals in red have each a “mother” (played by male as it is too tiring for women) nursing a baby (doll) heading the warring groups. Like a real Kalinga rampage these “mothers” are never to be hurt by the enemy.

TUPUKAN SA MALONG (Cotabato) – The tubular skirt Malong of Maguindanao women has several unique uses. Here made into a divider, shield, a courtship prop and also a vicious whip to drive eavesdroppers away.

INAGTA (Negros Oriental) – Old and deep roots run into the Inagta ritual-dance Siaton. The active and energetic movements of the Agta men compliment the mystic and yet theatrical interpretation of Inday, the shaman leader. He appears as a woman to qualify for the requirements of a strong babaylan when “she” faces her diwatas. Inagta literally mean like the Agta, the small people who supplicate both to their gods and to San Nicholas, Siaton’s patron saint.

BINAYLAN-BANOG (Misamis Oriental) – Two danes of the Higaonon, one of a baylan shaman acting like a mother hen to her chicks, the second of a ferocious hawk killed by 3 vicious hunters.

LANCEROS DE IRIGA (Camarines Sur) – A Filipinized-French quadrille proudly claimed by the Agta of Iriga. Claim has it that the Lanceros was learned by the present Agta through their fathers and forefathers who worked as farmhands in big land holdings owned by Spaniards. Spanish tertulias and social gatherings were occasions for the Agta helpers to peep through the kitchen door to watch and imitate their masters. Soon enough the Agta had their own version of the lanceros with the peculiar jump-start. The ballroom version has long been lost but the Agta version lives on. An Anthropological wonder.

NENENG KULIBANGBANG (Camarines Sur) – An Agta of Ilian settlement, Iriga plays his home-made violin with Mang Carpio accompanying him in the guitar in this simple but heartwarming song

BUTI-BUTI (Sulu) – Since its first performance in the early 70’s by the Badjao for the Ramon Obusan Folkloric Group, Buti-buti will be staged only today. The simple but affectionate ways of the sea gypsies give a unique approach to learning of their lifestyle. My little boat or buti-bu ti’s grace as it rides the waves he compares to his loves fine ways.

BOLUNTARYO (Iloilo) – Set on a superb setting during the Philippine-American war ini Alimudian, no other dance could convey a stronger emotion, Locked between two lovers, our Señorita displays strong emotion of undecisiveness.

PASTORES A BELEN (Camarines Norte) – Talisay dances to the composition of Dr. Jose Rizal’s “Pastores a Belen”. It reveals its far off origin – Mexico. Young maidens chosen for their beauty and grace swirl voluminous skirts while framing their heads with multicolored arcos. Papier-mache horses representing the star of Bethlehem make it a fitting honor to the Holy Child of Bethlehem.

THE RAMON OBUSAN FOLKLORIC GROUP AND
RAMON A. OBUSAN TRAVELS
INTERNATIONAL
1971 to 1982 – Japan (Nasu)
1974 – Japan (Wakayama)
1977 – Malaysia (Kuala Lumpur, Klang, Penang)
1982 – Germany (Bonn, Frankfurt, Mainz)
– France (Paris)
– Switzerland (Geneva)
– Holland (Amsterdam)
– Mexico (Mexico City, Teotechuacan, San Miguel de Ayenda,
Guanahuato, Cuanavaca,Teposotlan)
1983 – Thailand (Bangkok, Patthaya)
1984 – Indonesia (Jakarta)
Japan (Tokyo, Fukuoka, Nagoya)
1985 – Singapore
1986 – Canada (Vancouver)
– U.S.A. (Seattle, San Francisco, Sacramento)
1987 – Europe Tour 1
– Yugoslavia (Beograd, Zagreb, Lubjana, Cacovek, Zagorie, Velenje, Domzale, Nova Gorica, Bugojmo, Jacje, Modrica, Ruma, Ada, Nove Sad, Slavonski, Ptuj)
– Belgium (Antwerp, Brussels, Welkendraedt, Neringen, Kortrijik)
– Germany (Andernach, Lipstadt, Euskirchen, Kamen, Hamburg, Selb, Berlin, Wurzburg, Worms)
– Spain (Cartagena, Murcia, Cieza, Salamanca, Segovia, Palencia, Pamplona, Malaga, Albacete, Madrid)
– Holland (Heindhoven , Sittart, Amsterdam, Amstelveen)
– Switzerland (Lugano, St. Moritz)
– France (Vouvant, Tolouse, Arles, Nice, Brignoles, Greoux-les-bains, Aix-en-Provence, Viviers, Perpignan, Pamiers, Lourdes, Bordeoux, Paris, Vitre, Normandy, Rouen, Lyon, Lille, Langeres, Choesi leroy, Metz, Anvers-sens)
– Luxembourg
– Australia
1988 – Italy
– Hongkong
1989 – Japan (Yokohama)
1990 – Japan (Sapporro, Okinawa, Nagoya, Tokyo, Kyoto, Kobe, Nara,
Fukuoka, Kanazawa, Hokkaido, Okayama, Wakayama, Osaka,
Yokohama)
– Europe Tour 2
– France (Brignoles, Aix-en-Provence, Lille, Paris, Vernon, Voiron,
Blagnac, Le Thor,Caudebec, Barentin, Socaux, Vannes, St. Moritz) -Belgium (Oosttende, Knokke, Antwerp, Monz, Brussels, Blankengerge)
– Yugoslavia (Ormoz, Sisak, Sremska, Mitrovica, Vrnjaca, Banja, Cacak, Ivanjica, Vranje, Ohrid, Bitolj, Titov Veles, Arandjelovac, Lubina, Umag, Opatija, Vipava, Idrija, Pula, Bled, Crikyrnica, Cakovec)
– Greece (Ioannina, Corfu, Patras, Olympia, Aliveri, Athens, Perreus)
– Czeckoslovakia (Bratislava, Prgaha)
– Germany (Neubrandenburg, Eberswalde, Reichenbach, Chemnitz, Berlin, Leonberg)
– Italy (Milano)
– Holland (Amsterdam, Rotterdam, Goes, Zuidland, Terneuzen)
– Switzerland (Geneva)
– Austria
– Luxembourge
1991 – Korea (Seoul)
– Germany (Maniz, Munich)
– Taiwan (Taipei)
– Japan (Hiroshima)
– Malaysia (Kuala Lumpur)
1992 – Malaysia (Penang)
– France (Paris)
– Japan (Okinawa)
– Spain (Seville)
– Indonesia (Yogyakarta)
1993 – EuropE Tour 3
– Netherlands (Leiden, Velthoven, Dronte, Kampen, Enschede, Venlo,
Zaandam Heerlen, Winterswijkl, Den Haag)
– Belgium (Brussels, Gent, Antwerpen)
– Germany (Neukirchen-Vluyn, Nurnberg, Kusel, Ottobrun,
Reichenbach, Selb)
– Austria (Linz)
– Singapore (Sentosa Island)
1994 – U.S.A. (San Francisco, Washington D.C., Los Angeles, New York,
Ohio, New Mexico, Pennsylvannia, Florida, Sta. Rosa, Texas)
– Singapore -(Sentosa Island)
1995 – Greece (Athens, Piraeus, Priauis)
Turkey (Ankara Island)
France (Paris)
England (London)