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2004 – Vamos a Belen

PerformanceVamos a Belen 2004
  
Date and TimeDec 28, 2004 – 08:00 PM
Dec 29, 2004 – 03:00 PM
VenueCultural Center of the Philippines
TheaterTanghalang Nicanor Abelardo
TypeSeason Production
  

MEŞSAGE


Walang kahalintulad kahalagahan ng PASTORES sa sangkatauhang may takot at pagsamba sa Diyos. Tulad ng mga pastol sa Bethlehem noong unang pasko, sana ay mai-alay natin sa Niño sa belen ang ating sarili, ang kapayapaan at sa susunod na saling-lahi ang ating mga tradisyon na tulad ng pamaskong kaugalian bilang pag-galang sabayan at sa Pilipino.

Maligayang Pasko at Mapayapang Bagong Taon
RAMON A. OBUSAN
Artistic Director

The Ramon Obusan Folkloric Group (ROFG) celebrates 32 years of preservation andperpetuation of Philippine traditions with special emphasison music and dance.

Founded in 1972, the ROFG started as a fledgling folk dance company composed of not more than 30 performers. Learning from the vast amount of data and artifacts that he accumulated while he was doing researches, founder Ramon A. Obusan envisioneda dance company that faithfully mirrors the traditions and culture of the Fipinos through dance and music

For 32 years, the ROFG has created a niche in the world of dance as a forerunner of Philippine dance performed closest to the original. Boasting of over a thousand performances in the Philippine and abroad, the ROFG is one of the leading resident folk dance companies of the Cultural Center of the Philippines since 1986. Under the leadership of its founder, Artistic Director and Choreographer, Ramon A. Obusan, the ROFG has, so far, gone on three successful European tours in 13 countries including Belgium, Germany, Switzerland, France, Amsterdam, Luxemburg, Czech Republic, Yugoslavia, Italy, Spain, Greece and Austria in 1987, 1990 and 1993.

In the 8th Hong Kong Festival of Asian Arts 1983 critics showered the ROFG with praises, describing its performances as “the stuffan arts festival should be made of. Three years later in the 1986 Expo in Canada, its 21 shows ended in 21 standing ovations. In 1992, the group was the first Filipino performing artist to receive resounding applause and standing ovations for all its performances in Japan under the auspices of Min-On International. The group had its first extensive American Tour in 1994, visiting 16 states and 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. Obusanwas chosen as Artistic Director of the first joint ASEAN Performing Group composed of various artists in the ASEAN Village in Sentosa Island, Singapore, performing not only Philippine dances but dances of other Asian countries as well. In 1995, the ROFG helped raise HK 1.5 million for OCWs in Hong Kong when they performed for a fund-raising eventsponsored by the Hong Kong Bayanihan Trust

April and May 1996 saw the group in 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 and in 1999, the group returned to Japan twice through the sponsorship of the Tourism Council of Japan and NorthwestAirlines. In the year 2000, the company received the ASEANTravel Award for Cultural Preservation in the tourism congress in Thailand. In 2001, the company traveled to South Korea, London and Baghdad, Iraq fora series of special performances. It was also awarded the Sining Kalinangan Award by the City of Manila as the most outstanding dance company in the same year. In 2002 and 2003, the ROFG was invited to perform at the varco Polo Prince Hotel aspart of the Philippine Food Festival in Hong Kong for three successfulwesis.

Though steeped with international and local recognition, the ROFG has never forgotten the people who are the very source of its pride. For the past three decades, it has documented and performed the rituals of more than 50 ethnolinguistic groups in the country. With more than twenty outstanding full-ength Filipino dance works among which are the memorable suites from the Cordillera, Bagobo, T’boli, Tausug, Maranao, the Aeta, the Talaandig among others, the ROFG has served to highlight the authenticity of the dance, music and costumes of these people.

Today, the ROFG humbly celebrates 32 years of fruitful existence and service to the Filipino people. To ROFG, there is no stopping in the pursuit of recording and staging of our fast-fading traditions.
PROGRAMME

Payapang Daigdig
Asong — prologue: a peaceful and quiet night

THE POSADAS (SEARCH FOR AN INN)

Posadas is ‘im” to the Mexicans. In the Philippines, the Posadas is the re-enactment of the Search for an inn by a Mary and Joseph, who sing and recite verses, pleading to heartless. innkeepers for a place for the night. The Posadas is popularized as the Panunuluyan (Tagalog), Panarit (Waray), Ensayo (Southern Leyte) and Maytinis (Cavite).
In the hands of the creative Filipino, the Posadas, while keeping its message of salvation and peace, metamorphosed into many versions. Through the years, the Posadas has modified into many variants, each distinct from the other. The lesson of the Posadas affirms the message of saivation, humility — which to one hospitable Filipino, goes beyond selfless love.
ROFG’s research explores the many versions of the Posadas. First introduced to Mexico by the Spaniards, the practice traveled by galleon through the Mexican sailors and workers to Philippine shores. Since then, invocation after invocation transformed the Posadas into many forms, four of which are interpreted here.

Ensayo (Libagon, Southem Leyte) Utterly simple. A poor Mary and Joseph clad in pieces of curtain materials and faded blankets knock on doors of make-shift huts or “barongbarong” for a place to stay for the night, pleading their intentions in Cebuano.

Kagharong (Santo. Niño, Pilar, Sorsogon) Unusual. All inns visited are overcrowded with early arrivals. Together with the innkeeper, guests wave the couple off. The Bicol couple, in their late 70’s, portrays Mary and Joseph, singing and reciting verses in the dialect.

Panarit (Laurente, Southern Leyte)in Waray, “panarit” means to reject a refuse entry. In the Laurente Panarit a chorus sings in the singsong manner relating Mary and Joseph’s plight at the hands of heartless innkeepers. The characters simply act with no singing or speaking parts.

Maytinis (Kawit, Cavite) Taken from the Latin word “matins” which means word-prayers praising God. It is prayer at midnight vespers. Historic Kawit claims to have the most impressive “search-for-an-inn” event featuring small floats, thousands of walking contingents, a singing and acting Mary and Joseph and four heartiess innkeepers posted in designated houses with decorated porches. All this happens on Christmas Eve, before the Midnight Mass.

VAMOS A BELEN (THE NATIVITY SCENE) Popularly known as the “belen”, short for Bethlehem is this living tableau representing the glorious nativity scene. Perhaps this is the oldest Filipino Christmas symbol. The belen or crèche originated from Italy, which was adopted in Spain, traveled to Mexico and finally introduced to the Philippines in the early 1700’s. Angels portrayed by selected young girls sing heavenly praises, strew flowers about and finally lead the tired couple to the belen.

Niño Dormido (Sleeping Baby) in Bakong, Negros Oriental, as in many places in the Philippines, the “Hermana”, a prominent and respected lady of the town is given the honor of walking the church isies cradling a “Niño Dormido” or sleeping child. Soon as she gets to the belen in the altar, the child is gently laid in the manger. As she walks, the Hermana is accompanied by a spirited overture of a brass band and a choir doing its best to approximate Handel’s Hallelujah Chorus

Sayaw Ning Bitoon (Dance of the Stars) Still popular in many old churches, particularly in the Visayan and Bicol regions, is the dance of the star lanterns. The one of Bakong highlights a star-sun, star-star and a comet which are made to giide and skip on strings tied between ine choir loft and the belen in the altar. The first two go ahead while the comet accompanies the Hermana’s ceremonial walk.
Tatlong Hari (Adoration of the Magi) Very much a part of the belen is the visit of the three wise men dressed in resplendent majestic costumes accompanied by their individual entourage, bringing gifts of frankincense, gold and myrrh.

PROGRAMME
THE PASTORES (CHRISTMAS SHEPHERDS) In early Spanish times the “pastores” (Christmas shepherds) were known as the “Villancincos”, a band of singers accompanying themselves with guitars and other stringed instruments, serenade houses and receive small cash for the church and themselves. Today, the same roaming bands are known as “pastores”, composed of mosoy young girls and boys. Sometimes old women in their early 70’s band together to perform their age-old pastores.

Nacio, Nacio Pastores (New Washington, Aklan) After the midnight mass in New Washington, Aklan, teenage girls cany a “Niño Dormido” from house to house to be kissed by the families. Boys polka and gallop with tambourines and individual standartes (banners) that spell out the message “Feliz Pascua Y Prospero Año Nuevo” (Merry Christmas and a Prosperous New Year). They receive cash donations for the church.

Pastora (Taft Eastern Samar) From a Spanish Villoncico” (carol), the Waray of Samar sing about cahel, castañas, flauta, sista dulce, ravel, gift offering by the shepherd. Indigenous gift substitutes came as palay, com, flowers, drums, guitars and other native musical instruments.

Palo-palo (Sabtang, Batanes) The most popular dance-drama of Sabtang in the Batanes groups of islands is the palo palo, an obvious take-off from the comedia or Moro-moro, where two groups of protagonists, Christians and those “outside-of-the-fold” engage in an almost unending sword-fight, winning and losing in alternation.

The combatants use two stick each, or palo-palo (from where the dance got its name) before coming to peace. The non-believers give up and are finally converted.

KAUGAUAN (PECULIAR AND QUAINT CHRISTMAS BELIEFS AND PRACTICES)
At Christmastime, the palo-palo dancers move about town performing for chosen houses for a small fee. Said to be church-sanctioned, this tradition has been with the islanders for as long as they remember.

Paglundag sa araw ng Pasko (Jump and Stretch); Pagkain para sa Mahal na Pamilya (Food for the Holy Family); Bawal pumatay ng mga insekto (No swatting of flies and other insects); Paskong ulan (Christmas rain); Daigons (Visayan Carols); Panunuluyan (Search for an inn); Bawal Maligo (Bath-less Christmas); Bawal Sumimangot (No frowning at Christmas); Bagong Damit at Sapatos (All new at Christmas); Bawal Mamalo (No Beatings): Bawal Magingay (Silent Night); Pagdadala ng Parol sa Daan (Lanterns to light the way); Pagtanim ng maaga (Early planting on Christmas day); Pinagpalang sanggol (Lucky baby born on Christmas day); Saging na Belen (Banana Belen); Pahalok (Kissing of the Child Christ)

Maytinis (Mendez, Cavite) Superstitious pregnant mothers follow an age-old tradition in Mendez, Cavite. On Christmas day, they accompany a Mary and a Joseph as they re-enact the Christmas story. Added belief is for the mother to touch the footsteps of Mary to ensure an easy and painless childbirth.
Harpa (Heavenly Strings of Camalaniugan, Cagayan) A divertissement of rondalla music. Performed by the Celso Espejo Rondalla.

Baile Navidad (Christmas Ball) Popular until the 30’s, Christmas was not without the much-awaited social gathering where friend, family and acquaintances come to celebrate the happiest season of the year. Dressed in imported European gowns, smelling of French perfume, guests wined, dined and waltzed all night to Strauss music, played by an inspired symphony orchestra. The party is temporarily stopped when the church bells call for the midnight Mass. After church, everybody rushes back to the party to continue their interrupted merrymaking till the wee hours of the moming.

PROGRAMME

STO. NIÑO FESTIVALS Chistmas and the Santo Niño festival, are two great festivals, both centered on the Christ Chid, but celebrated as differently as night and day. On the one hand, Christmas is undoubtedly the most awaited, merest and the mast spectacular of all festivals in the whole of Christianity and beyond — bordering on a child’s fantasy of Disneyland and Hollywood’s magic. No amount of superficialities, glittery trimmings and icing will push aside Christmas’ message of peace. After all, this is why people are kinder and in a festive mood, even for a brief time.

On the other hand, nearly all the feasts of Santo Niño, celebrated on any of the Sundays of January, tum to rowdy and explosive expressions accompanied by unparallel revelry, wild street dancing, mob movements, including unorthodox noisemakers like cans, bamboo tubes, ketties, etc. In some towns of Aklan, revelers carry food poles embellished with unbelievable items like snakes, wild lizards, fish, crab, shrimps, pig’s head and legs. Each one of these offerings is carefully chosen and prepared by families as this year’s offering to Santo Niño. Fiesta, food and drinks flow lavishly from tables.

The line between Christmas and the Santo Niño festivals is very clear. Even if both celebrations are molded on reverence, respect and faith, Christmas is celebrated as the fulfillment of the coming savior while the Santo Niño (as other saints) is honored as the towns’ patron saint, propitiated for favors or thanksgiving. Being a child, the Nño’s day is a celebration fit for a child.

Magellan in Cebu (First Mass, the Santo Niño gift and the Sinulog) In the bright morning of March 16, 1521, the Portuguese navigator Magellan, together with his priest — chronicler Pigafetta, officers and men, met on the beach with Sugbo’s Rajah Humabon and his wife Reyna Juana. Magellan gave Juana an image of the Santo Niño de Praga, a Mass was said, hundreds were baptized and the image venerated. This was the start of the Sinulog festival, ever celebrated in Cebu. Today, after many alternations and interpretations, the Sinulog festival is the most attended and most popular of all festivals in the Philippines.

Ati-ati (Ibajay, Aklan) Aklan’s ati-ati has gone from religious to commercial. Hundreds of thousands of devotees flock to Kalibo each 3rd week of January to take part in the now worldfamous ati-ati festival. Perseverance and piety of the people of Ibajay town, also in Aklan has retained the original ways of venerating the Santo Niño.

Patapak (Stamping Ritual) The patapak ritual is meant to bring relief to the sick. Tapak means to step in. During the feast day of the Santo Niño in Ibajay and Kalibo, Aklan a small image ofthe Santo Niño is gently stamped on the aching body-part of a sick devotee. This practice is also seen in other churches where instead of the Santo Niño, the town’s patronsaint is used.

Escrima (Tinambak, Samar) Local color provides knowledge for national understanding, The Ramon Obusan Folkloric Group research and recording teams have always been in the lookout for rare traditions related to the Santo Niño Wanting to learn more about how “fencing” with the image of the Santo Niño in a small Samar town, we went back to a legend. The chieftain of a marauding slave raiding group got so ill that in his delirious state he was fending with a child in bright costume. In his dream the child promised make him well if he does not take slaves again. Saying this the child touched the chieftain’s forehead and was instantly cured. Awaking, he recognized the image of the Santo Niño as that the child he was fencing with in his dream. The legend spread and so today after several hundred years, the natives of Samar “fence with the Santo Niño in as a matter of reverence and faith.

SIMBANG GABI (DAWN MASSES) Pandanggo sa ilaw / Oasioas A divertissement. The famous dance of the lights is here incorporated into an age-old practice of the simbang gabi (midnight mass) better known as Misa de Aguinaldo. Some may lament this as a debasement of translation but we only would like to bring back the original practice of the “midnight mass”

Noting the Filipinos love of the liturgy and extended rituals, the friars introduced an innovation – a mass at dawn in order to fit into the agricultural rhythm of the farmers who retired early to prepare for field work next day. So, before the farmers went to work in the fields, they went to dawn masses to pray

PROGRAMME

for the birth of the Christand, by extension, for a generous yield. Thus, the birth of Christ and the bounty of the land compliment ane and two.

On the way to church, the famers and their families light their way with lamps and lantems or parols usually in the form of stars. The tradition is very much alive in dimly-lit barrios, still without electricity.
PASKO NG MGA KATUTUBO (CHRISTMAS AMONG THE ETHNO-LINGUISTIC GROUPS)

Christmas to the whole of Christianity is are most spectacular and most celebrated of all festivals and is also shared by non-Christians and other religious as well. Count in some of the marginal peoples and cultural communities found in many islands in the Philippines such as the Bontoc of Mountain Province, Manubo of Agusan, Aeta of Zambales and the Bagobo of Davao. Each of these groups find their way into towns during the Christmas season and perform songs, music, dances and simple rituals related to their culture in exchange for cash. They may not fully comprehend why Christmas is celebrated but all they know is that people are friendier and are in the mood for giving and sharing

Bontoc (Mountain Province) Strange but true. Baguio and Manila are delighted by the display of village music and dances by the Bontoc of Mountain Province. Strange because of the ten known major groups of the Cordillera region only the Bontoc roams the busy and streets for a small fee. Often, groups move in two’s or three’s, one playing on a ganza brass gong and the others dance in animation.

Manubo (Agusan del Sur) At no other time of the year do residents of Surigao and Butuan cities see so many natives dancing and singing except at Christmas time when groups of Manubo come down from their mountainabodes to perform for small change in front of stores and houses.

Aeta (Zambales) The towns of Zambales get a fair share of Aeta dances and rituals come Christmastime. Armed with bows and arrows, tree branches and a native guitar, the Aeta troop into nearby towns with mimetic dances to the delight of their audience. At the end of the day, the tired Aeta head for the market to spend thair hard-eamed cashon food and other needs.

Bagobo (Davao) Christmas in Davao City is not without the Bagobon. The sound of the Tangungo (suspended small gongs), the gimbal drum and the large agong gong announce their coming. To watch the Bagobo perform ritual dances in their resplendent costumes and stunning body accessories is a sight to behold. Except for Davao’s fiesta in May, the Bagobo dress up only to impress city audience and earn some extra cash. Some groups sing and dance with the kuglong lute and the saluray bamboo guitar.

Pastores Kalawit (Kalawit, Cebu) On Christmas morning, the fisher folk of Kalawit, Camotes Island gather on the beach, not to transact fish business but to be part of a over-a-year party. Here, old mothers and grandmothers, dressed in aute baby dresses matched with glittery cardboard crowns, perform an age-old pastores, where origin is lostintime.

Pastores Kalawit is a merry mix of Cebuano daigon (carol) songs, stringed ensemble, local verses and outlandish costumes and accessories, a white fan indented. This part brings nostalgic memories to the oldies.

Like any other Cebuano pastores the dance folows the regular sequence of inviting everyone to adore the Christ child in the belen. This version has two distinct parts. The first called “true pastores” tells of the pastores invitation and the second part called “extra”. “Extra” refers to the unexpected twist of the dance into Latin. Reminiscent ofthe dance craze pachanga, cuaracha, cake walk etc. of the 30’s, our dancing queers gyrate and kick thin heels high, targeting aching backs and rheumatic joints. This extra part is for the “new generation” who prefer present-day dance craze and comic interlude to the age-old pastores that ancestors did. The ROFG appreciates the help extended by Dr Mila Hoson for sharing her research on the Kalawit pastores with us.

ENCHANTED CHRISTMAS The spectacle of Christmas goes beyond the enchanted imagination of a child. It is undoubtedly the most awaited, most celebrated, magical and memiest of all festivals. Its message of peace and salvation is oftentimes replaced by feasting, bright lights, wining, dining and the unabated commercial Christmas that has jumped out of department store’s show windows into the streets and our homes. Some enchanted Christmas says it all.

PERFORMERS

RAMON OBUSAN FOLKLORIC GROUP
Cherry Ylanan • Marciano Viri • Christine Carol Singson • Sergio Anlocotan Jr. • Emelita Medina. Jhunnard Jhordan Cruz. Kanami Namiki. Renato Castelo • Marie Ruby Ocampo Angelito Santos . Chona Marina • Omar Aguilar. Jessa Enriquez • Alvin Caño Anna Christine Pido. Christopher Perez. Revelene Ruth Balaoro • Orlando Ocampo. Diane Angelie Pido. Romeo Medina. Maricar Dacuno Joey Fungan. Ma. Christina Sy • Edwin Amalo. Dulce Imelda Amor de Guzman Michael Bayani • Jonah Bautista. Ronald Asuncion Jenneth Ballan Marckenzie Vispo Joy Picar Usana. Darly Separo. Camille Dungog. Dandel Espeña. Jesselyn Tiaba Jonathan Domingo. Mila Reyna Rivera • Amante Villacorta Richard Pendon. Richard Signo. Israel Garcia • Angelo Lepata Mike Anthony Dacanay. Ramilo Nicolas Jolomar Jove Joseph Egiab. Romeo De Vera. Gener Estinor. Allan Lumbao . Leonardo Bruno Jr. • Nelson Espejo

ROFG JUNIOR RONDALLA
Shyme Jeremy Arellano. Jeric Casem. Mary Grace Magaling. Michael Angelo Medina. Julie Anne Casem. Luke Anthony Singson • Marie Antonette Rebanal. Jose Roel Oga. Ma. Jubelyn Alcantara. Mike Candelario Kayle Louise Cabanag . Mark Roy Magaling Jememma Mikee So. Gian Carlo So• Faye Tancinco. Josua Amolo. Christine Laura Singson • Genesis Amolo. Paula Margaret Ferreras. Franklyn Lobos. Mary Anne Cuid. Abel Capangpangan • Kristina Marie Parato. Rigor Zeus Reaño. Ma. Patricia Velasco Alyssa Bumanglag • Jera Mae Cerce

KAISAHAN OF SAN JOSE DANCE COMPANY INC.
Helen Pastor-Moreno, Artistic Director Marissa Hughes. Marvin Sabado. Rachel Pastor-Moreno Rumar Arzadon • Michelle Huynh Voltaire Villegas. Trishya Movilla • Benjie Sallarina • Rachel Nicolas John Lenard Moreno Cissaly Alcantara • Ivar Bernadillo • Allyza Movilla Ruel Regadio Jr. . Monet Ela. Robert Huynh • Celine Cacho. Jared Cacho. Arma Labrador. Christopher Alcantara Janelle Mercado. John Paul Sacramento. Vanessa Villegas Austin Puyawan. Marielle Hammersley. Rebekah Dimaantal

CELSO ESPEJO RONDALLA Celso Espejo, Conductor Elaine Juliet Espejo. Roscelin Espejo. Orlando Ocampo. Leonardo Bruno Jr. • Nelson Espejo . Weenalyn Detomal • Renz Gerard Amintia. Joyce Ann Duyao. Rancris Denosta Maricar Quiogue • John Melvin Reyes

SANGHAYA DANCE ENSEMBLE
Zion Cleto, Founder-Artistic Director Sharjah Nuestro • Julius Cuevas. Sherie Ann Secreto Christopher Mesa Kris Ann Gonzales Paul Ryan Mojica. Piva Dolor Cuento. John Emmanuel Ramos Maricris Baybay Kerby Hemandez • Abigael Angoo . Reinner Sarmiento Jermi Ambagan

PRODUCTION STAFF

RAMON A. OBUSAN
Artistic Director Concept, Choreography, Production and Costume Design

CHERRY YLANAN
MARCIANO VIRI
Dance Directors

SONNY PEROCHO
Technical Director and Lighting Design / Merber, PATDATIOISTAT

ORLANDO OCAMPO
Musical Director

NELSON ESPEJO
Roncalla Master

FRANK DEPAKAKIBO
Production Manager

BOY SANCHEZ
Stage Manager

EMELITA MEDINA
Costume Mistress

RICARDO CRUZ
Set Consultant Member, PATDATIOISTAT

TEODORO RAMIREZ
JOEY FUNGAN
CHRISTOPHER PEREZ
ROMEO MEDINA
Props and sets

SANDIE JAVIER
Program Lay-out

ACKNOWLEDGEMENTS Ms. Elvira Go Ms. Ellen Cruz Mayor Nestor Alvarez Mr. Praxedes Jimenes Mr. Baltazar Endriga Mr. Ben Peregrino Mr. Zion Cleto Dr. Mla Hoson Mr. and Ms. Philip Peralta Mr. Randy Guevarra Ms. Myrna Verecio Mrs. Marietta Nepomuceno Mr. Raul Nepomuceno Jr. Ms. Pilar Cosico Mrs. Iris & Mr. Nestor Isla The People of Bakong, Negros Oriental People of Sabtang Island, Batanes
Colombia Corporation Marikina Performing Arts Guld Science City of Muñoz for Pastores Libagon for Pastores Libagon for Maytinis, Kawit, Cavite for Maytinis, Mendez, Cavite for Pastores, Kalawit, Cebu for Nacio, New Washington, Aklan

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