2000 – Obra Maestra 1

OBRA MAESTRA

is presented in cooperation with the
Cultural Center of the Philippines
at the Tanghalang Nicanor Abelardo (Main Theater) on
May 16 and 17, 2000/8 p.m.

PROGRAMME
1. HIGHLAND CORDILLERA
Bik-bik/Sagsag (Kalinga – Lubuagan, Kalinga)
Pattong (Kalinga – Lubuagan, Kalinga)
Ragragsakan (Kalinga – Lubuagan, Kalinga)
Manmanok (Bago – Vigan, Ilocos Sur)
Idudu (Itneg – Penaruvia, Abra)
Uyaoy (Ifugao – Mayaoyao, Ifugao)

II. ECOS DE EUROPA
Arpa (Camalaniugan, Cagayan)
Sayaw sa Cuyo (Cuyo, Palawan)
Lanceros de Tayabas (Tayabas, Quezon)
Sinakiki (Rapu-rapu, Albay)
Rigodon Royale (Zamboanguita, Negros Oriental)
Abaruray (Catanauan, Quezon)
Jota Paragua (Cuyo, Palawan)

III. MINDANAO TAPESTRY
Kariala Sagayan (Maguindanao – Datu Piang, South Cotabato)
Kinakulangan (Maranao – Marawi, Lanao del Norte)
Kuntao (Tausog – Jolo, Sulu)
Sua-Sua (Tausog – Jolo, Sulu)
Pansak (Yakan – Lamitan, Basilan)

IV. TRIBAL
Pag-ampo Sugod-Uno (Bagobo – Sirib, Kalinan District, Davao)
Pandamgo (Matigsalug – Kitawtaw, Bukidnon)
Sohten (Subanon – Margosatubig, Zamboanga del Sur)
Banog-Banóg (Sulod – Tapaz, Capiz)

V. FIESTA FILIPINA
Gala (Bool, Bohol)
Sala Ti Mais (Ilagan, Isabela)
Pandaggo sa Bulig (Bocaue, Bulacan)
Sabong (Alcantara, Romblon)
Karatong (Cuyo, Palawan)
Lapay Bantigue (Bantigue, Zambales)
Pastores Talisay (Talisay, Camarines Norte)

MESSAGE

Over thirty years of unrelenting travels brought me to villages, coastal towns, forest recesses, mountain slopes, caves and clearings…

I was there when the lights were switched on and the orchestra struck the European valse, mazurka, rigodon and fandanggo. This, in the houses of the rich and landed…

. I have also seen these performances in many impromptu stages – the village square, inside a nipa hut, a newly opened field, the sala of a bahay na bato, or even in boats. Others we recorded in fiestas and elaborate festive celebration – in a wedding, a baptism and even in a cemetery…

No matter what dance – it was meant to be recorded, studied and brought out to be shared with others to see…

Though wallowing in the memories of standing ovations and deafening applause of audiences crowding modern and historical theatres, castle halls, magnificent cathedrals, hotel du ville, bullfight arenas, grand stables, beaches, ruins, gardens and even in historical grounds in Europe, the America, the South Pacific and our Asian neighbors – the Ramon Obusan Folkloric Group never failed to answer the call to perform in local stages, be it at the CCP or a forest clearing.

Of the over one hundred dances I have recorded, I have chosen twenty dances considered as the Ramon Obusan Folkloric Group masterpieces because it was you who made them so.

The Ramon Obusan Folkloric Group and myself thank you from the bottom of our hearts for assisting us in spreading a sparkle of a jewel in the crown of Philippine art – DANCE.

RAMON A. OBUSAN Artistic Director and Choreographer
4 OLAP DRIVE, MIA HOUSING AREA, PASAY CITY, METRO MANILA, PHILIPPINES TELEFAX: 831-08-94

CULTURAL CENTER OF THE PHILIPPINES
SENTRONG PANGKULTURA
NG PILIPINAS

MESSAGE

The dance was a vital part in the lives of our ancestors. It was through the
dance that they celebrated every important aspect of their lives, from birth to death.
The dance was eternal, a part of the traditions to be passed on from one generation to
the next.

With the Ramon Qbusan Folkloric Group, we are reassured that the dance will
live on. For nearly thirty years, Ramon Obusan and his group have worked tirelessly to
ensure the preservation of the various dance traditions among our country’s diverse
ethnic groups. Through their efforts, we are privileged to witness the dance as a living and vibrant memory of the past. Indeed, this is a true obra maestra.

To the Ramon Obusan Folkloric Group and the dedicated cultural workers behind
this production, our sincerest best wishes and warmest congratulations.
In the end, the dance lives on.

Mabuhay!

GLORIA M. ANGARA Chairman
CCP COMPLEX, ROXAS BOULEVARD, PASAY CITY, PHILIPPINES • TEL. NOS. 832-1125 TO 39• FAX NO. (632) 832-3683

CULTURAL CENTER OF THE PHILIPPINES
SENTRONG PANGKULTURA
NG PILIPINAS

MESSAGE

In ancient times, the dance was not just a form of entertainment. It was anexpression of worship and a celebration of life through the beautiful union of movement and music. Our ancestors used dance to celebrate every important signpost of life – birth, coming-of-age, courtship, marriage and even death. They danced their rage andfury during war and they danced for the sheer joy of living during peace. In manyways, the Dance itself transcended the life that it symbolized and became Life itself.

Today, the dances of our ancestors are our only memory of the life they led before. Once more, Ramon Obusan ensures that the memory of the dance will never die here in his Obra Maestra. This is a fitting title to nearly thirty years of dedication and hard work in preserving the rich dance traditions of the various cultural and ethnic groups in our country. Even as we step into the twenty-first century, the legacy of our past remains with us, a worthy inheritance to pass on to our children and our children’s
children.

To the Ramon Obusan Folkloric Group and all the dedicated cultural workers behind this production, our sincerest congratulations. May your company continue to enjoy every success.

Mabuhay!

ARMITA B. RUFINO
President

CORAZON G. IÑIGO
Vice President/Artistic Director

CCP COMPLEX, ROXAS BOULEVARD, PASAY CITY, PHILIPPINES • TEL. NOS. 832-1125 TO 39 • FAX NO. (632) 832-3683

The RAMON OBUSAN FOLKLORIC GROUP

The Ramon Obusan Folkloric Group (ROFG) celebrates 29 years of preservation and perpetuation of Philippine dance and music traditions.

Founded in 1971, the 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 while he was doing researches, Ramon A. Obusan thought of starting a dance company that will mirror the traditional culture of the Filipinos through dance and music.

For twenty-nine years, 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 in the Philippines and abroad, the ROFG became a resident folk dance company of the Cultural Center of the Philippines (CCP) in 1986.

Under the able leadership of its founder and Artistic Director, Choreographer and Researcher-Ramon A. Obusan, it has so far gone on three successful European Tours in 1987, 1990 and 1993. In 1992, 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 Min-on. In 1994, the group had its first American Tour visiting 16 states capped with a proclamation of February 8 as ROFG Day in Cleveland, Ohio. In Asia, the group represented the Philippines in various dance festivals and conferences as cultural ambassadors. Along with this, Mr. Obusan was chosen as Artistic Director of the first performing group composed of the various dance companies in the ASEAN Village in Sentosa, Singapore performing not only Philippine dances but dances of other Asian countries as well.

Vuoden auton In 1995, it helped raise HK1.5M for Filipino OCW’s in Hong Kong when they performed for a fund-raising event sponsored by the Hong Kong Bayanihan Trust. In April and May 1996 the group went to Paris, Turkey, Greece and Sweden for a series of performances under the auspices of the Department of Tourism. In May 1998 the company performed at the Lisboa Exposition ’98 in Portugal as part of the Philippine Centennial Celebration. In 1999, the group returned to Japan for the Philippine Independence Day celebration through the invitation of the Embassy. Early this year 2000, the company received the ASEAN Travel Awards for Cultural Preservation in the recently concluded tourism congress in Thailand.

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 and performed the rituals of more than 50 ethnolinguistic groups in the country. With about fifteen outstanding fulllength Filipino dance works, among which are the memorable suites from the Cordillera, Bagobo, T’boli, Tausug, Maranao, the Aeta and the Talaandig among others – the ROFG has served to highlight the authenticity of the movements and costumes of these people.

Today, the ROFG humbly celebrates 29 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 Filipino traditions.

RAMON AREVALO OBUSAN

Choreographer, dancer, scholar and researcher. The son of Praxedes Obusan, a physician, and Josefina Arevalo, a music teacher, he went to the University of the Philippines for degrees in fisheries technology and cultural anthropology. He taught for several years at the Aklan National School of Fisheries, then became a dancer and researcher of the Bayanihan Philippine Dance Company.

In 1971 he founded the Ramon Obusan Folkloric Group, and has since choreographed and directed for some 65 dance groups and over 100 productions nationwide – dance, pageants, festivals, special events, competitions, exhibits, television, movies and video-films.

His productions include the full-length presentations, notable are Kayaw ’68 and Kayaw ’74, Maynila – Isang Dakilang Kasaysayan (Manila – Its Noble History), Kaamulan (Gathering), Noon Po Sa Amin (The Way it Was), Sayaw – Handog ng Pilipino sa Mundo (Dance – Filipino’s Gift to the World), Ritwal. (Ritual), Under the ASEAN Sky, Glimpses of ASEAN, Philippine Fesitvals, Tausug Tapestry and Rare and Unpublished Dances of the Philippines series. He has collaborated in various film projects, among them American Ninja, Banawe, Hubad na Gubat (Naked Forest), The King and the Emperor, Maligayang Pasko (Merry Christmas), Noli Me Tangere, Waywaya and Rizal. His own group has joined international festivals and expositions in over 100 countries since 1974. It has also toured the Philippines extensively.
Through the years, Ramon Obusan has studied and documented the indigenous culture of Philippine ethnic groups from north to south, focusing on rites and traditions. Proof of this lifework of over three decades is a compilation of over 200 audio and video-documentation of this researches as well as a collection of museum artifacts. He has also done research on the Polynesian culture of Fiji, Samoa, Tahiti and New Zealand, and given lectures, demonstrations, and workshops worldwide. Obusan tries to keep his folk dance presentations authentic by using actual movement patterns, costumes, and music even as dances go on-stage.

Two documentaries he directed for the Tuklas Sining series won awards in France : grand prize, Prix de Reportage for Sayaw, 1990, and Special Mention, Grand Prix International VideoDance, 1992, for Philippine Ethnic Dance. A consultant for UNESCO, he has been cited for his achievements in research, conferences, workshops, and presentations. He was given the Patnubay ng Kalinangan award by the City of Manila in 1992 and the Gawad CCP Para sa Sining Sayaw in 1993.

He has actively worked as a member of the Executive Committee of the Philippine Folk Dance Society, the National Commission for Culture and the Arts since 1987. He was consultant and co-director of the 1998 Centennial Parade Celebration. He was co-curator and program director of Pahiyas : A Philippine Folk Festival, the Philippines participation to the Smithosnian Folklife Festival in Washington D.C., USA in July 1998. In 1999, he was one of the 100 artists awarded in the CCP Centennial Honors for the Arts.

Bik-bik/Sag-sag (Kalinga)

A warrior has fallen. He is sat on a sayachil death chair as women covered in wide red blankets prodingly urge the man to avenge himself while holding burning twigs to drive him to his new world. The air is filled with chants of revenge. Oy natoy, “A dead is among us!”, is announced to neighboring mountains and villages. The wife cuts a long red cloth that she metaphorically attaches to the dead. A blue and white celadon bowl is struck incessantly by the mandadawak shaman alluding that the spirit has flown out from the dead through hair strands that float in the air and that she must retrieve each strand.
Ragragsakan (Kalinga)
The Kalinga borrowed a word from the Ilocano – ragragsakan, which means to make merry and this the Kalinga has plenty of. On occasions like a successful headhunt, a marriage and even the culmination of a peace-pact, it is fascinating to see a long line of village women with labba baskets balanced on their heads, snake through the green rice terraces, skipping through breaks in the dikes. A more picturesque sight are blankets unfurled to ward off the cold mountain air.

Pattong (Kalinga)
This is all about homecoming warriors from a successful headhunt to a Kalinga village. Proudly the successful minger brandish head trophies while acknowledging gifts of beads and gold accessories from their women. To highlight the event, lawi crown feathers from tails of the best roosters and tipped by small feathers from colorful forest birds are awarded. After the dance of victory around cut heads, the ceremonial tattooing commences.

Idudu (Itneg)
We might wonder how quickly a baby of an Itneg family quickly goes to sleep – is it because he fears the voice of his father or would he rather sleep to have more of his father’s idudu lullaby? Mother is out tending to the fields and father must take care of household chores including rocking his son to sleep. Changes of social roles like this one are not uncommon among the Itneg of Abra.

Manmanok (Bago)
Animals and fowls have always been the inspiration from which dances were created, particularly those people whose association with the surroundings is colorful. Borrowing from the hen and rooster’s love-play, the Bago tribe, a marginal people living at the foothills of Ilocos Sur, mimic three wild cocks, masterfully manipulating blankets representing colorful plumage and a hen trotting about demurely, evading the savage advances of her suitors.

Uyaoy (Ifugao)
A grand party, probably a canao thrown by the rich kadangyang of the fugao. Now the fields are cleaned and grains stored away, the men must dance as mighty birds and the women to stamp and scratch the earth from which come. All of the village must thank the gods of harvest for this bounty.

Arpa (Ibanag)
A heavenly-sounding instrument, the harp was introduced to the native Filipino adding to the many more that he originally had. In Camalaniugan, Cagayan harps are still played from nipa huts where they are treasured as inheritance from music-loving ancestors.

Sayaw sa Cuyo (Cuyunin)
As in the days of England’s King Arthur, the small island of Cuyo in northern Palawan is a fairyland complete with a real honest-to-goodness fortress con church as background with many dainty princesses frolicking over white sand by the blue sea. On the feast day of St. Augustine, these “princesses” and thousand others come together for a great feasting ending in a colorful parade. To the accompaniment of island songs, the islanders perform time-honored dances, some indigenous coming from surrounding islets, others the result of Spanish conquest. Sayaw sa Cuyo is such an example of the Spanish contribution to Cuyo’s many acquired dances.

Lanceros de Tayabas (Quezon)
The Lanceros de Tayabas is known nationwide as a social dance form popularized and performed in great balls of the elite. To trace the lanceros is to follow it from its original form – that of the days of gallant English Knights and their magnificent horses which cross lines during tournaments. Later the same line crossing between perfumed ladies and wigged gentlemen of the courts of France is observed in the dance lanciers. Sometime in 19th century it was carried to the Philippines by the Spaniards finding its way into towns around the country, one of which came to be a popular divertissement of a comedia better known as moro-moro in Tayabas.

Sinakiki (Bicolano)
Piece of cake – you would say of Sinakiki, a flirtatious dance mimicking the grace and stance of an enamored rooster and a coy hen. Difficult, I would say with every movement translated into a language that only lovers understand. Disarming glances paired with naughty advances, gentles teasing moves are answered by chases and runs. After all sinakiki is Waray for flirtation and the dance is so named.

Rigodon Royale (Negrense)
As a matter of social tradition, the rigodon royale, Negros Oriental’s version of the popular rigodon de honor, is a walk-dance popularized at the end-of-the-century peaking in popularity during the Commonwealth period of the 1930’s. The opening of the Suez Canal in 1869 afforded more travels to the fashion centers of the world like Paris, New York, Milan and London. Arriving home, wealthy travelers always wished that a grand ball was at hand that they might be able to show-off their new buys, that is if no welcome bienvenida party is thrown in their honor.

Abaruray (Quezon)
It is with ease that merchants from Marinduque and other shores have crossed to Catanauan, Quezon for many untold years bringing goods, ideas and people and change was inevitable to culture and traditions. The market place was not the final stop for things new. For even as the men of Marinduque interacted with the locals, and making known their intention to partake of their folkways, others went abroad to sample the dance Abaruray which literally man aba! (an expression) and Ruray (nickname for Aurora), she must have been popular if not beautiful to have this honor in dance.

Paragua (Cuyunin)
Think of that early afternoon when friars, soldiers, Spanish men watched with great anxiety as native Cuyunin sat around exits and waiting. Chosen girls and boys from the nearby church school will perform the jota, painstakingly taught to them by the homesick Spaniards. It must have been an enjoyable event for after many hundred years the dance still thrills the Cuyunin.

Popularly known as the Jota de Paragua named after the old name of Palawan, this jota retains the fiery flavor of the jota, an input from that once popular Sevilla, also once known as the capital city of the world. The ROFG version stripped this jota of the Filipino elements that might have crept into the original. Except for the elongated bamboo castanets and the music from the rondalla, the jota is fairly the same dance introduced three hundred years ago.

Kariala
A kariala to the Maranao of Lanao del Norte is grand parade replete with people in festive costume. There are sagayan warriors, musicians, ladies-in-waiting, warriors, royalties and commoners, all set in designated areas of the parade. “Some dance, some walk, others prance about, others pop and dart about. To drums, gongs,’ kulintang and cymbal music does the kariala moves. If it was a parade with an important person like a datu, his house must be ready to receive the paraders with ready performance of songs and dances.

Sagayan (Maguindanao)
Several versions of sagayan are performed during special Maguindanao and Maranao celebrations. The Maguindanao sagayan are traditionally seen in weddings, parades, post-healing activities and in big affairs like Eid’I F’itr and the Ramadan. Sagayan dancers are dressed in three-tiered skirts, brightly colored topper and a headgear embellished with all the imaginable colors of twine trimmings formed into flowers, balls, sunbursts etc. and many mirrors. Long, yellow playful tassels almost hiding the face surround the headgear. A shield elaborately painted with curlicures, rounds, twirls, mirrors and attached with shell noisemakers matched a double-bladed sword of metal or wood. For emphasis tubao kerchiefs are tied on handles of both shield and sword fly. Young boys 12 to 15 make energetic sagayan. The boisterous sagayan warriors bolt about, trashing and kicking, while shaking his head, to give the impression that is driving unseen tunong spirits. Acting as a friendly pet to the many sagayan warriors, the unta “perform with the sagayan.

Kinakulangan (Maranao) Under elaborately decorated umbrellas, Maranao women walk the kini-kini way to show good breeding. Versions of this dance are called in various ways – kinikini, kasanduayan and saduratan.

Burong-talo (Tausog)
Tausog warriors perform this martial arts in dance form with drum and gong accompaniment. Silver fans use to glare opponents are also used to parry knife blows. A stranded Malaysian is said to have taught this cat and hawk fight.

Sua -ku- sua (Tausog)
In Sulu, extensive orchards are planted to coconut and pomelos and fields to staples like rice and root crops. At harvest time, pomelo fruits are gathered in big baskets before they are sent away. The Tausog depend strongly on the income the pomelo bring them and this relationship is romanticized by comparing the sua’s gentle leaves, slender branches, attractive fruits and fragrant flowers to the virtues of a lady. Put to music, it is this song that is sang by couples while flapping two white fans each, resembling leaves rustling in the wind.

Pansak (Yakan)
Similar in dance movements to the pangalay of the Tausog of Sulu and similar in dressing to the Badjao groups of Bomeo, the Yakan displays one of the most colorful weddings found in the island of Basilan. Included in the ritual is the ceremonial face painting, tumahik war dance and the newlyweds’ pindulas dance.

Pag-ampo
Dugso (Talaandig)
Because of the animo-deist followings of the Talaandig, rituals of various purposes ranging from the very simple offerings to the extremely complex dominate their lives. Every nook, stream, large rock, tree is the abode of one or many diwatas. Fear of the unknown, punishment for transgressing the holy abode of these deities make up the Talaandig’s ever conscious obligation to unseen ‘protectors and detractors. Dugso effectively bridge the mortal Talaandig with their gods.

Sugod-uno (Bagobo)
The 13th moon is the most awaited by the Bagobo groups sitting at the foot of Mt. Apo, the highest volcano in the Philippines. It is the time for the village to come together and renew vows with the diwata . The Bagobo performs sugod-uno involving young. warriors. These baganis simulate newly hatched eaglets testing their wings against a merciless wind. Light shields serve as wings, with the help of babaylan shaman, the wind is overcome and in a declaration of victory the ordinary warriors become datu. Feasting ends with the ceremonial planting of the Durian seed with splendid poking poles called tadak. Finally all head for home after thanking Magbabaya, – Maaslag nga Amay (benevolent father).

Pandamgo (Matigsalug)
The Matigsalug is a big ethnolinguistic group also considered a Manubo sub-tribe, but since it was “isolated” from its mother group and named after the salug river by which they live beside, it became better known by its’ new name. Pandamgo is Matigsalug for dream. It is also the name of a dance-drama which unfolds with a barren mother who dreams of happiness that ends in tragedy. She dreamt that she gave a birth to a pretty lady whom she nursed and nurtured to become a lady of untold beauty. The dance has stages that show the baby growing from a toddler to a young child, to a teener and finally a maiden of marriageable age. Two lovers come into the scene, one the maiden shows affection for, the second the mother profess for her daughter. A bitter fight ensues, and both are killed.
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Sohten (Subanon)
Pre-combat sequences put to dance performed by this all-male ensemble dramatizes the strength and stoic character of the Subanon bagani or warrior.

Banog-banog (Sulud)
Elaborate body tattoos earned the Sulud of Central Panay the name pintados by the 16th century Conquistadores. A dear possession of the community is a dance that imitates the hawk or banog. A dance, students will surely take inspiration from this modern-day forest dweller’s avant-garde movements.

Gala (Boholano)
If you think a wedding in Bool, Bohol or any small town is simple and inexpensive, think again. The bride comes with a retinue of friends and relatives, the groom with his, including an array of kitchen helpers who are expected to perform impromptu dance and music numbers right after the last guest has had his fill. The fun begins when pans, pots, plates, ladles, brooms clash with firewoods, pails and knives, ending the newlyweds, after pinned with money bills privilege their guests with a dance similar to many other chase and run dance showing playful sensuous movements.

SalaTi Mais (Isabela)
(roldmos) snode Corn was brought from Mexico via the famous Galleon trade. Isabela became one of the country’s great producing provinces and a dance was so created to honor this yellow staple. With the last ear harvested, farmers in festive yellow and green, hop and trust about in the middle of the clearing meant to thank the good God for a bountiful harvest.

Pandanggo sa Bulig (Bulakeno)
Small mud-fish caught by fishermen using a unique fish trap, salakab.

Sabong (Romblon)
A cockfight and a wrong betting of an avid cock fighter.

Karatong (Cuyunin)
Gaily decorated bamboo noisemakers’ to give rhythm to bright and spirited steps performed by ladies carrying bungang mangga decorations symbolizing fireworks.

Lapay Bantigue (Masbate)
Early mornings are when great number of lapay seagulls in coasts of Bantigue Island, Masbate where fisherfolks go through their business of buying and selling. Inspired, the fishermen created a dance imitating the swoops and dives of the lapay.

Pastores Talisay (Bicolano)
Probably no other Christmas event is best remembered except for the pastores/pastora (Christmas shepherds). The pastores are bands of singing and dancing groups who roam the streets of many towns at the advent of Christmas. Membership vary from colorfully dress gown girls, sometimes boys, join in to old women in their late 70’s. So popular are the pastores group that varieties are found in almost all the regions of the Philippines from far town of Sanchez Mira, in Cagayan, to the rustic town of Dapitan, Zamboanga.

In the sleepy town of Talisay in the not-so-known province of Camarines Norte comes one of the country’s colorful pastores. Said to have originated from Mexico, it has all the tell-tale of Teoteuacan where a practice of the same kind is known to exist. Pastores not only use voluminous skirt (27 meters long) but also short zerafes and also papier mache horses said to e the mounts of the three Kings and lace star lanterns representing the star of Bethlehem.

Pastores Talisay is danced to a Pastores a Belen version composed in Spanish by Dr. Jose P. Rizal while on exile in Dapitan in the late 1800’s.

PRODUCTION STAFF

RAMON A. OBUSAN Artistic Director, Researcher, Choreographer
SONNY PEROCHO Technical Director and Lighting Designer Member PATDATIOISTAT
ORLANDO OCAMPO Music Director
RAUL NEPOMUCENO Dancemasters
CHERRY YLANAN
MARCIANO VIRI
KIKAY Production Manager
ERNESTO CORTEZ Production Coordinator/Invitations/Tickets
CHING DANSECO Stage Manager
EMELITA OBUSAN Costume Custodian
SHERWIN SANTOS Props Master
SERGIO ANLOCOTAN Tranportation
DINAH SARIO Program Printing
TONY BALLESTEMOS Food
OMAR AGUILAR Secretary

PERFORMING ARTISTS
Ramon Obusan Folkloric Group
Cherry Ylanan
Christine Carol Obusan-Singson
Emelita Medina-Obusan
Marie Ruby Alejo-Ocampo
Romylyn Frias
Genoveva Garcia
Dina Ramos
Ruby de la Rosa
Susan Elizabeth Manucdoc
Charity Joy Maghamil
Rosario Gagarani
Rhona Flor de Pedro
Elinor Balaoitan
Lyra Gregorio

Raul Nepomuceno
Marciano Viri
Sergio Anlocotan
Lyle Eymard Villahermosa
Jhunnard Jordan Cruz
Kim ParCO
Renatro Castelo
Reiner Nino Badiola
Sherwin Santos
Omar Aguilar
Jesus Maximo
Virgo Jessjoma Mocam
Roderick Baasis
Victor Francia
Sherwin Quesea
Jorge Caronia
Ryan Montera
Marvin Sayson
Alvin Cano
Francis Bungayan
Ronald Bendijo
Antonio Aniceto Jr.

Children from Smokey Mountain (Mga Anak ni Inang Daigdig)
Rechelle Signo
Rovelyn Balaoro
Rogelia Rebato
Jessa Enriquez
Michelle Ferreras
Abigail Vera
Mhay Estinor
Ana Krtisine Pido
Diane Angelic Pido
Melanie Villacorta
Jhoy Basco
Melody Crisostomo
Angelica Solomon
Analyn Fajardo
Mark Angelo Ferreras
Joselito Enriquez
Richard Signo
Jerwin Dantes
Dandel Espena
Ronald Asuncion
Noel Alejandro
Ramilo Nicolas
Barry Boy Balaoro
Mark Allan Ferreras
Mark Anthony Ferreras
Gener Estinor
Jonathan Domingo
Amante Villacorta
Richard Vera

ROFG Musicians
Orlando Ocampo
Romeo Medina
Michael Bayani
Benjie Bitoon
Anthony Dawala
Ernesto Layug
Rolando Jorge
Antonio Macalalag

Festivals: Philippine Folk Festivals in the Year 2000

The year 2000 will be witnessed to the restaging of world renowned Philippine folk festivals such as the Sinulog of Cebu, Dinagyang of Iloilo, Ati-ati of Aklan, and the Kaamulan of Bukidnon among others. Lesser-known festivals such as the Pastores of Bicol, Sagala of Laguna, Dyanggo of Cagayan, Lima-limahan of the Yakan of Basilan and the Kariala of the Maranao of Marawi City will also be highlighted. Led by the Ramon Obusan Folkloric Group, winners and original performers of this various festivals will be invited to perform for this event that will start with a parade around the CCP Complex and will culminate with a showdown at the Folk Arts Theater.