2006 – Sayaw Pilipino Handog sa Inyo

PROGRAMME

HIGHLAND CORDILLERA
Kailihan
Idudu
Salip
Imbaya

ECOS DE EUROPA
Dalagang Pilipina
Polkabal
Paseo de llo-ilo
Mazurka Boholana
Abaruray
La Jota Mañilena

MINDANAO TAPESTRY
Kariala
Sagayan
Pig-Apir
Kuntao
Pindulas
Singkil

LESSER KNOWN TRIBE
Pag-Ampo
Dugso
Gin-um / Sugod-Uno

RURAL FIESTA
Harana
Pandanggo sa llaw at Oasioas
Kasalan /
Gala
Sabong / Inday
Maglalatik
Patores Talisay
Tinikling

Cultural Center of the Philippines
In cooperation with FILIPICA
The Association of Learning in and from the Philippines
In celebration of its 25th Anniversary and the
years of PHILIPPINES – JAPAN Friendship
リフィリピン・日本 友好年
1956-2006
Present the
RAMON OBUSAN FOLKLORIC GROUP
Savan Pilipino
HANDOG SA INYO
Saturday January 14, 2006 • 3PM Tanghalang Nicanor Abelardo • (CCP Main Theater)
Cultural Center of the Philippines
supported by
Embassy of Japan
The Japan Foundation, Manila
JAPAN FOUNDATION

FILIPICA フィリピンに学ぶ会
The Association of Learning in and from the Philippines

In the seventies, the information needed for day to day life in Metro Manila was scarce and that in Japanese was next to none. A few from the then small community of Japanese expatriate wives decided to answer to this need. In 1976 they formed the “Guide for Life in Manila” editing committee and published several information books in the following seven years. Those books, including titles such as “Doctors and Medicines”, “Vegetables”, “Fish”, “Tips and Hints”, were and have since been welcomed and well used by generations of Japanese housewives living in the Philippines.

The women in the committee and their friends expanded the group’s mission so as to provide a Japanese forum where its members could mutually learn, not only just tips and hints, but also about the culture, history, life and society of their host nation in a systematic way so that its members, particularly new comers, would adapt to the new environment in the shortest time. Thus FILIPICA was born in January 1981 with 92 members after one year of preparation by 15 founding members. Another important aim of FILIPICA is to provide opportunities for making new friends beyond the husbands’ work-related circles, and beyond their nationality, which in tum opens up an opportunity for FilipinoJapanese friendship, mutual understanding and exchanges.

FILIPICA now has about 500 members including 50 in the Japan chapter. Its activities, all operated by volunteers, includes managing the secretariat, running “Circles” (study groups), publishing and distributing its monthly Japanese language information organ “FILIPICA Newsletter” and its semi-annual magazine “FILIPICA”, which is available in Japanese and English. Membership is open to anyone regardless of nationality, gender or age.

Circles and Volunteer Groups of FILIPICA FILIPICA, presents a variety of “circles” (study groups) and volunteer groups for the enrichment and enjoyment of its members. All members are invited to join the following activities. Please refer to the current issue of monthly FILIPICA Newsletter for the contacts and the schedules. Culture Circle In this group you have many opportunities to learn about the history, culture and arts of the Philippines. The monthly fieldtrips bring you to historical sites, famous churches, museums, art collectors’ estates, rain forest and many more intriguing destinations. Take advantage of living near the heart of culture of the Philippines Food Circle This group’s main focus is “eating”, which includes cooking classes using local ingredients, China Town Expedition for cooking materials and a Chinese lunch and Miso making. The monthly report by Restaurant Expedition Team is on every FILIPICA Newsletter, which introduces new restaurants and recommends old ones in and about Metro Manila. Horticulture Circle The activities include learning about local floras, visiting flower exhibitions and private gardens and making flower-watching trips. Language Circle The lectures by Edwin Mojica Sensei of Japanese Center Foundation do not stop at teaching the Filipino language. His multi-faceted lectures in his fluent Japanese will never bore you. Photo Circle This is the group for photo lovers. Once a month to go on a photo-ta king trip in and around Metro Manila. After a trip they have another get-together to show and talk about their photos. Join them and make a treasure of souvenir photo albums. Saturday Nihongo This group provides Japanese language learners with opportunities to talk with and learn from native speakers. Interestingly, the roles of learners and teachers are often reversed during the conversations on things Filipino. Saturday Nihongo classes are held from 2PM to 4PM on the first and third Saturdays. Wheelchair Library The group rents out, for a small fee, VHS, DVD and VCD of Japanese TV shows and movies which were donated by FILIPICA members as well as non-members. A large part of the proceeds is used to buy wheelchairs for Tahanang Walang Hagdanan (Stairless House), a home of the physically handicapped. ACTIll With the money from the donation from Wheelchair Library and the proceeds from the sale of used newspaper, the group extends its helping hand to orphans and disadvantaged youths. The members visit three different orphanages and home once to 3 times a month to play with the babies and teach the older children arts and handicrafts. The group also helps some of the home staff members financially by shouldering a portion of their salaries Asuka Library This group’s activities center around Asuka Library, a collection of Japanese children’s books donated by Mrs. Setsuko Ida, the first editor-in-chief of FILIPICA. They lend books (in Makati and Alabang) and organize seasonal events and story times for children. These activities are currently held on the 2 floor of the Manila Shinbun Culture Center from 3pm to 4pm on every Saturday

FILIPICA is a non-profit association supported by the membership fees.

Along with the publication of its literature, FILIPICA runs, by the respective circle leaders, various “Circles” such as the Culture Circle, Food Circle, Horticulture Circle, Language Circle and Photo Circle. It also operates volunteer groups including Saturday Nihongo (Japanese language class for Filipinos), Wheelchair Tape Library (fundraising for wheelchairs by managing a video library), ACT III (volunteering in orphanages and refuges) and Asuka Library (management of the children’s book library). These circles and volunteer groups are open to all FILIPICA members. To many Japanese women in Metro Manila, these activities are an integral source of enjoyment and fulfillment in their lives.

Also popular among new comers as well as “old” residents is the four-part series of “Orientation Seminar for New Comers” in every May. It takes up useful and interesting topics such as “The general condition of the Philippines”, “Medical matters in the Philippines”, “Food and eating in Philippines” and “Introducing FILIPICA”.

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, and then became a dancer, performer and researcher of the Bayanihan Philippine Dance Company from 1964 to 1972.

In 1972 he founded the Ramon Obusan Folkloric Group, and has since choreographed and directed for over 100 dance groups and productions nationwide dance, pageants, festivals,special events, competitions, exhibits, television, movies and video-films.

His production include the full length presentations, notable are Kayaw ’68 and Kayaw ’74; Maynila Isang Dakilang Kasaysayan (Manila Its Noble Story); 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 Festivals; Tausug Tapestry; Pagkawin- A Yakan Wedding; Pagkawin sin mga Bata- Tausog Child Brides; Ang Alamat ng Durian; A Bagobo Folktale; Mystique Asia; Vamos A Belen Series; Obra Maestra Series 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 30 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 these life work of over three decades is a compilation of over 200 audio and video-documentation of his 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 CCP Tuklas Sining series won awards in France: grand prize, Prix de Reportage for Sayaw, 1990, and Special Mention in Russia, Grand Prix International Video-Dance, 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 Philippine participation to the Smithsonian Folklife Festival in Washington D.C., U.S.A. in July 1998. In 1999, he was one of the 100 artists awarded in the CCP Centennial Honors for the arts. In 2005, Ramon Obusan was given the Mayor’s Award for Excellence in the Arts by the City of Pasay.

PROGRAMME
I. HIGHLAND CORDILLERA Through the centuries, tribal communities of the Cordillera range in Northern Luzon celebrate life’s milestones, a birth, a courtship, a wedding, a conflict, reconciliation and death and even a frightful head-hunt. By nature these celebrations are characterized by wild fury and freedom of the spirit. Very much part of festivities is ganza music, boastful chants and wild dancing. 何世紀にもわたり、北ルソンのコルディレ
民族は、出産、求愛
、
な大
があり、恐ろしい首狩りもその –
地籍り行
何ラ、人行がくなのラ儀もる
の儀式は野生的で激
主恐事、
おも魂ど
狩がう活
祝り
「解るこ放し
り争そあな踊
「放する
「 をか
。ま器
放ンて
慣れ ら すサでは
活に る)による音楽と詠唱、そして野生的な踊りからなります。
z な奏
KAILIHAN A name of endearment given to a village mate. The ROFG opens this suite with a display of people’s culture, costumes, weaponry, body omamentation, dance vignettes included. Groups represented are the Apayao, Bago, Benguet, Bontok, Gaddang, Ifugao, Itneg, Ilonggot and Kalinga.
えられた「愛される 」という意味の題名 。ラモン・オブサン・民族舞踊団はその幕開けとした、 山岳民族のアパヤオ族、バ ゴ族、ベンゲット族、ボントッ
族、ガッダン族、イフガオ族、 ネグ族、イロンゴット族そしてカ リンガ族の 々の文化
衣装、武器 、装飾品など 組曲で表現してくれます。

IDUDU We might wonder how a baby of an Itneg family quickly goes to sleep it is because he fears the voice of his father or would he rather sleep to have more of his father’s idudu lullaby. Mother is outtending to the fields and father must take care of household chores including rocking his son to sleep. Changes of social roles like this are not uncommon among the Itneg of Abra. イトゥネグ族の赤ちゃんが眠りにつくのが早いのは何故なのか?それは父親 の叱る声に怯えている のか、それとも父親が歌う の子守唄のせいなのか?母親は 田畑に出るため、父親が家事をしたり、子どもを寝かしつけなければなりま せん。アブラに住むイトウネグ族の間では、このよ うに父親と母親の役割が交替することが珍しくありませ・・B

SALIP A successful Kalinga head-takertakes a bride in this courtship dance. 首狩りを首尾よく達成したカリンガ族の男性が、恋人 に求愛して踊るダンス。
IMBAYA The Ifugao, builders of the famous Banaue Rice Terraces, considered the eight wonder of the world

PROGRAMME
celebrates a bountiful harvest in this dance. 不思議」の一つ、バナウェのライス・テラス(棚田)を造っ
知 おィフガオ族が 稲の豊作を祝って踊ります。
II. ECOS DE EUROPA The sword and the cross came to the Philippines in the 16 century, after which it came the continuous flow of goods, ideas, customs and tradition from the west. The music and dance traditions saw the introduction of the jota, fandango, balse, sevillana, mazurka, kuratcha, eschottisse and other forms
accepted and partly, mixed with native steps. Many came to us as new Filipinized forms. 剣と十 ンに到来したのは 16 世紀のこと。その後、 次々と欧米の品物、思想、風習や習慣が流れ込みました。フ ィリピン音楽や舞踊の世界にも、外国のホタ、ファンタンゴ、バルセ、セヴィラニャ、マズルカ、クラ・ bチャ、エスコティッセなどの踊りが伝えら れ、一部は取り入れられていきました。その多くは、フィリピン化された新しい形として現在に伝えら・ 讀トいます。
DALAGANG PILIPINA About the virtues of a Filipina girt.
POLKABAL A lilty dance from the province of Quezon.
州の、軽快な ダンスです。
PASEO DE ILO-ILO Four gallant gentlemen’s vie for the attention of a lovely lady revealing its far-off origin Andalucia, Spain,
い紳士 ちが、美女の注 意を惹こうと張り合って踊ります 。起源は遠くスペインのアンダルシアといわれます。
MAZURKA BOHOLANA A social dance from Bohol showcasing the costumes of the tum of the century. このボホールの社交ダ ンスは、20世紀初頭の衣装を再現しました。
ABARURAY 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 means aba! (an expression) and Ruray a nickname for aurora she must have been popular if not beautiful to have this honor in dance.

PROGRAMME
間
やその近辺の海岸に住 を行き来し、長い年月 必然的に
は品や、
は、容易 易に 海を渡りケソン州 Catanaua と
、人々が流通し、 その結果 に変化を
然
まの
しは々
にた市のをドと
い文。場生の
物伝しけの
化与も
人、新だ活ヶ交
易思統くにあ 男を に想ま
海にた。 を人入とらた深
tそ きら面地彼ま踊
メ
響
を与えま
リ人番
たずに元らたる。
の音俗に ..
も ってるはAurorという女性の呼び名)の踊りを見るた・ 者たちはAbaruray(Abaは表現の意の言葉で、 に出掛けたそうで、この踊りの題名にまでなっていることから、美人では とても有名な女性であったに違いありません。
LA JOTA MANILEÑA On June 12, 1898 Philippine independence was proclaimed by General Emilio Aguinaldo in Kawit, Cavite. Euphoric crowds tools to the streets, dancing, singing, and cheering. Unable to contain their great joy after
333 years of Spanish subjugation they danced their favorite jota de Manila. Using elongated bamboo castanets not strung to take the place of the traditional Spanish castanets. 1898年6月12日 ミリオ・アギナルド将軍はカヴィテ市のカウィット町でフィリピ ンの(スペインからの)独立を宣言しまし た。 幸福に満ち溢れた民衆は
い、喝采しました。333年間に わたるスペインへの服従から
く々は、このお気に入りのホタ・ デ・マニラの踊
の踊りを、
*綴じられてい ない竹製のカスタネットで踊りま

III. MINDANAO TAPESTRY Southern Philippine islands is home to some two million Muslims with culture and traditions similar to those of he middle and near east, India, the Malay peninsula and other neighboring Islamic countries. Those extraordinary traits and traditions were brought in through the trade routes that flourished for many centuries with Sulu and Borneo’s busy trading ports. Many music, dances introduced were readily accepted while others were treated with caution adding native steps to some thus Filipinized some of them to some extent. Sulu’s music and dance bespeak of Sulu influences.

フィリピン南部の島々 に は 、 お よ そ 200万 人 の モス レム (回教徒の
が住 近東、インド、マレー半島や近隣のイラ ラム諸国の人々 と、同様の文化 1、伝統
共有し います。それらモスレムの特質や伝統は、何世紀にもわたり繁栄してきたスルーとボルネオとの貿易に・ 誰チてフィリピンにもたらされました。多くの音楽や踊りは比較・ 「容易に受け入れられ、そこにフィリピンのステップが加えられ・ された踊りへと変化していきました。スルーの音楽と踊りはその一 – 3 影 物語っています。
このことは出れないしもう

KARIALA A kariala to the Maranao of Lanao del Norte is a 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

PROGRAMME
parade with an important person like a datu, his house must be ready to receive the paraders with ready performance of songs and dances. カリアラはラナオ
ル・ノルテに住むマラナオ族の人々が、祭りの衣装に着飾って、グランド・パレ ードを行います。それらはサガャン兵士たち、 音楽家たち、侍女たち、王族や – 般市民たちなどで
の場所 配置されます 。 踊
歩く者、飛び跳ねる者、太鼓
た
侍るど
、
者や
たシ
– 配 バ者分(合人るせ
首々。
の定、リ楽れ。が
物マ
Datu ダ 首長)の よ う な 重要 入 物 が パレードにご加”が っ て い る 場
首長の家 による踊りの パフォーマンスが、何時でも見せてもらえ 状態にしておかなければなりま
SAGAYAN The most colorful and the most visual of all Maguindanao dances. Composed of an all-male ensemble, sagayan plays a serious part in the healing ritual centering on the sagayan warriors fight with malevolent spirits. Kamanyang fumes inhaled by the sagayan moves him in a magic-like trance. マーギンダナ才族の 踊りの中でも最も色鮮やかで、最も視覚に訴える踊りといえます 。男性のアンサンブルから成るサ ガヤンは、悪霊と戦う兵士を中心とした踊りで、癒 しの儀式の重要な部分として作られています。Kamanyangの煙を・
い
るかのようにがんちのトランス状態に痛りま
す。
PIG-APIR Apir are lavishly decorated fans gracefully manipulated by Maranao maidens to emphasize her gentle wrist movements as she walks with the “kini-kini”sway, a sign of good breeding. とは、マーラナオ族の娘た ちが美しく、かつ巧みに操る
、贅沢に装飾された扇子のことで、緩やかに手首を動かし、 腰を揺らしながら歩く動作 キニーキ
子供をたく さん生めることを意味しています。
KUNTAO Flashing swords parried by fans, clawing hands and flying kicks eluded by alert moves-are hawks fighting in a martial-art-dance form, said to have been taught to the great Tausug fighters of Jolo by a Malaysian warrior standed in the islands.
出 した手、飛び跳ねるようなキックで振りかざされる刀を巧みに避 ける勇ましいこの踊りは、猫と鷹の争いを模したものです。この踊りは座 礁してフィリピンに辿り着いたマレーシアの兵士が、ホロ島のタウスグ族の兵士に教えたものと伝えら・ 藏トいます。
PINDULAS Post-nuptial dance of a Yakan couple. Lifting off from the Tausug pangalay dance, the Pindulas imitates the graceful swimming of pretty fish around coral reefs. Musical logs called kulintang kayo accompanying the pindulas.
族

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ルの婚礼後の踊りで、タウスグ族のpang alayパンガライの踊り を土台に発展したというこの踊りは、珊瑚礁の周りを美しく泳ぐ魚を真似た踊りだ
す。
SINGKIL One of the many versions of the most exotic and best-loved dances of the lake dwelling Maranao. In some enchanted Kingdom, a groom becomes a prince and the bride a princess, with entourage of ladies-in-waiting they enter criss-crossed bamboo poles clapped in syncopation, ending in a frenzy finish. The dance takes its name from the brass anklets worn by the bride.
湖(ラナオ湖)の ほとりに住むマラチオ族 に伝わる、最もエキゾチック で、最も愛されている踊りの一つです。魔法・ られた大国の中には、花婿が王子に、花嫁が・
女 になり 、侍女が居並ぶ中、彼らが十文字
に組まれた竹の棒の間 に入って踊りまわり、最後には狂乱した状態で終了します。この踊 の由来は、花嫁が足首につけている真鍮製のアンクレット(足飾り) ています。
け
IV. LESSER KNOWN TRIBE Gods and deities has always been in the minds of men since before history, carrying potential influence to men, just other forces of life and culture were brought by the winds. Many tribal communities wedged into deep mountain recesses and dark forests still supplicate to the great powers unknown to answer daily needs. Fire has long been regarded as the source of relief, therefore could be the great god Pagpagayok himself. 人類が歴史に登場する以前から、人間の心には常に神や女神の存在があり、人生や 文化が風のごとくもたらされたように、神や女神たちは人間に潜 在能力や影響力があることを知っていました。深い山奥や暗い森に暮らす多くの民族の間
では、日々の生活の中で 今日も計り知れない巨大な力に答えを求め祈り続けます。火は長年にわた・
で々に癒しや安心 を与えている、偉大な神Pagpagayokパパガヨク自身です。
PAG-AMPO The mystic healers of several villages come togetherin one powerful supplication moving as one. They borrow power of fire from Maaslag na Amay. When the healing session is over, the borrowed fire is returned.
霊治療師 が一同に集まり、人々の祈願を聞きます。彼らは治療の際、Maaslag_na Am a y が持っ火の力 を借り 、治療が終わると借りた火は返れます。
村
DUGSO Because of the animo-deist followings of the Talaandig, rituals of various purposes ranging form 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. から複雑な儀礼まで様々な目的で行われる儀式が人々の生活を支配しています ant grivneortoos ove) isinilux bello apol isoladi a1991 (subo bnu076 dah yieq topnimmiwe luxosip
樹木 に精霊がいると信じられています。そうした神聖な精霊の住みかであるこれらの場所を汚した者は、計・
村

PROGRAMME
BE
れ 罰の恐怖に苛まれ、罰せられる者をかばう者が現れ、また中傷・
々に対しTalaaandigはこれまでになくその義務を果たすことに・ 齢りします。Dugsoは現世のTalaandigと神々をつなぐ役割を果た します。
GIN-UM/SUGOD-UNO During the 13″ moon, the Bagobo performs the sugod-uno
involving young warriors. These baganis simulate newly hatched eaglets testing their wings against a merciless wind. Feasting ends with a ceremonial planting of the durian seed with splendid poking poles called tadak. 13日目の月夜にバゴボ族の若い兵士は sugod-uno を演じます。彼らBaganisは生まれたばかりの子ワシの真似をし・ ト、羽をばたつかせます。最後は穴を掘り、ドリアンの種を植え: 騙V式で祝宴は終わります。
休憩 ・ ・ ・ ・ ・ ・ ・ ・
V.RURAL FIESTA At least once a year, the sleepy village awakens to the irresistible noise and color of a fiesta. Warm smiles come with the fables hospitality of the Filipino, lavish food, pulsating band music, inevitable fireworks and
endless merrymaking, coupled with a procession to honor its patron saint. どんなに活気の
村 でも、少なくとも一年に一回、フィエスタの凄まじい音と色とで村を目覚めさせます。フ ィリピン人の親切・おもてなし、ふんだんに用意されたご馳走、わくわくす るような音楽 、おきまりの花火 、終わりのない酒宴、そしてそこには いつも心温まる笑顔があります。
HARANA A moonlight serenade.月夜のセレナーデ
。
手
PANDANGGO SAILAWATOASIOAS Two dances using lighted glasses skillfully balanced on the heads and hands. They are wrapped around scarves and swayed like beacons for homebound fishermen. 頭 てそれぞれのグラスをバラン スよく巧みに操った2つの踊りで
す。スカーフに包ん 十揺らす
照らし 家路へと 導きます。
KASALAN/GALA 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 his fill. The fun begins when pans, pots, plates, ladles, brooms crash with firewood, pails and knives. ending the newlyweds. after pinned

PROGRAMME
with money bills privilege their guest with a dance similar to many other chase and run dance showing playful sensuous movements.
しボホールなどの小 さな町で結婚式を挙げよ うと思うなら、質素でお金もかかりません 。花嫁 も花婿も、それぞれ友人や親戚に付き添われて来ます。付き添・ 「人の中には最後の客が揃うと即興で踊りや音楽を披露して くれる台所を手伝う人が含まれま す。式も最高潮になると 鍋、皿、ひしゃく、バケツや包丁で音を鳴り響かせ、客たちは・ 祝いのお金を二人にピンで貼り付けると同時に、特権として踊・ 開•低いして結婚したばかりの二人を祝います。
SABONG/INDAY A cockfight and a wrong betting of an avid cock fighter.
不正に賭けようとする 欲張りな闘鶏者たち。
MAGLALATIK Half-naked men click coconut shell harness tied around their bodies in syncopated rhythm. This is the world’s only polka using discarded coconut shells as musical accompaniment. 上半身はだかの男たちが・ A体にココナッツの殻を幾 つも結び付けて、リズム・ Jルに打ち鳴らして踊りま
界で唯一、不用のココナッツ の殻を楽器に見立てたポルカの踊り です。
[
京
75
PASTORES TALISAY Strongly traced to be Teoteuacan, this Mexican inspired Christmas pastores have ladies in voluminous china poblana skirts, star paper lanterns representing the star of Bethlehem and papier-mâché horses as mounts ofthe three wise men. メキシコから伝わって きたクリスマスの踊りにはゆったりとしたスカートを履いた女性・ Aベツレヘムの星型をした紙製 のランタンと、3人の賢者 が乗った張り子の馬が登場します。
FILIPINAS
TINIKLING The best known of all Philippine dances, reflecting the natural gaiety of the people. Dancers dart in and out of rapidly clapped bamboo poles to imitate the tikling, a long-legged bird eluding bamboo traps set by farmers in the field フィリピンの踊りの中でも一番よく知られている踊りで、人々の祭りの・
yや。に挟なイ模棒
踊り子たち、が速く、打ちつけられる 竹 の 棒 に 足 を ながら踊るこの踊りは、田畑にやってくる足の長い
な
足 * をの
棒は農夫が湿地に仕掛けた罠を表しています。(バンブー・ダンス)

RAMON OBUSAN FOLKLORIC GROUP
“The Ramon Obusan Folkloric Group (ROFG) celebrates its 33 years of preservation and perpetuation of Philippine traditions with special emphasis on music and dance.

Founded in 1972, the ROFG started as a fledgling folk dance company, composed of thirty performers. Leaning on the vast amount of data and artifacts that he has 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 more than thirty years, the ROFG has created a niche in the world of dance as forerunner of Philippine folk dance performed closest to the original. Boasting of over a thousand performances in the Philippines and abroad, the ROFG is one of the Cultural Center of the Philippines’ leading resident dance companies since 1986. Under the able leadership of its’ founder and Artistic Director, Choreographer and Researcher Ramon A. Obusan, it was so far gone on three successful European tours in 13 countries including Belgium, Germany, Switzerland, France, Amsterdam, Luxembourg, Czech Republic, Yugoslavia, Greece, Italy, Spain and Austria in 1987, 1990 and 1993

In the 8 Hong Kong Festival of Asian Arts 1983 critics showered the ROFG with praises describing it as “the stuff an 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 MinOn. The group had its first extensive American Tour in 1994 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 Joint ASEAN Performing Troupe in 1991 and the ROFG as the official Philippine representative. In 1994, it was the only Filipino company asked to perform for six months at the ASEAN Village in Sentosa, Singapore performing not only Philippine dances but dances of other Asian countries as well. In 1995, the ROFG helped raise HK1.5M for OCWs in Hong Kong when they performed for a fundraising event sponsored 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 for the Philippine Independence Day celebration through the invitation of the Embassy. In the year 2000, the company received the ASEAN Travel Association Award for Excellence in Tourism as Best Asean Preservation Effort in the Asean Tourism Forum in Thailand, besting other contenders. In 2001, the company traveled to South Korea, London, U.S.A., and Baghdad, Iraq for a series of special performances. It was also

awarded the Sining kalinangan of the City of Manila as outstanding folkdance company in the same year.
The years 2002 and 2003 saw the ROFG in the Prince Hotel’s Philippine Food Festival in Hong Kong for three successful days in December. The company is now preparing for its 3-week performance tour of Hawaii in March 2006 as part of the celebrations of the Centennial of Filipino Migration in the U.S.A. under the auspices of East-West Center.

Through steep 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 ntuals of more than 50 ethnolinguistic groups in the country. With more than twenty outstanding full-length 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 33 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 the fast fading Filipino traditions.

PERFORMERS
RAMON OBUSAN FOLKLORIC GROUP

Cherry Ylanan
Cecile Celine Domingo
Christine Carol Singson
Emelita Medina
Marie Ruby Ocampo
Princess Anne Virtudazo
Ma. Donna Cosejo
Joana Patrick Usana
Kanami Namiki
Jessa Enriquez
Diane Angelic Pido
Ana Christine Pido
Rechelle Signo
Allyana Cuerdo
Everly Grace Aspi

Raul Nepomuceno
Ronaldo Mendoza
Sergio Anlocotan
Angelito Santos Jr.
Marciano Viri
Lyle Eymard Villahermosa
Jhunnard Jhordan Cruz
Omar Aguilar
Rommel Serrano
Christopher Velasco
Alvin Cano
Ronald Asuncion
Mark Angelo Ferreras
Jayson Villacorta
Richard Signo
Arnold Zamora
Dennis Fajardo
Allan Christopher Mangahas
Orlando Ocampo
Michael Bayani
Romeo Medina
Luisito Legaspi
Joey Fungan

BATANG ROFG

Mark Roy Magaling
Jose Roel Oga
Luke Anthony Singson
Michael Angelo Medina
Franklyn Lobos
Rigor Zeus Daog
Jophet Dado
Brian Ramirez

Anne Lloraine Medina
Jubelyn Alcantara
Gemmema Mikee So
Christine Laura Singson
Ma. Patricia Loren Velasco
Kristina Marie Parato
Ma. Dianna Pola Donaire
Paula Margaret Ferreras
Marie Antoinette Rebanal

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

CHERRY YLANAN
RAUL NEPOMUCENO JR.
MARCIANO VIRI
Dance Directors

SONNY PEROCHO
Technical Director and Lighting Design Member, PATDAT- OISTAT

ORLANDO OCAMPO
Music Director

NELSON ESPEJO
Rondalla Master

FRANK DEPAKAKIBO
Production and Stage Manager

MIKO GREGORIO
Assistant Stage Manager

LOURDESITA RIVERA
Voice Trainer

EMELITA MEDINA
Costume Custodian/ Finance Officer

MARK FLORO
Photo Documentation

DENNIS JULIO TAN
Artistic Consultant

RICARDO G. CRUZ
Set Consultant
Member, PATDAT- OISTAT

SANDRA VICTORIA JAVIER
Program Design, Lay-out Artist

TEODORO RAMIREZ
SERGIO ANLOCOTAN
ROMEO MEDINA
MARK ANGELO FERRERAS
CHRISTOPHER VELASCO
Props Coordinators

CCP CULTURAL PROMOTIONS
Video Documentation

FILIPICA PROJECT STAFF
TAEKO TAMMY TAKAGI
MACHIKO YODOGAWA
SACHIMI KATO
NARUMI WATANABE
CHIZUE TERAMURA
KIYOMI AVENMARG
KYOKO TY
MISA AZUMA
YUMIKO YAMADA
KATSUMI FUKUSHIMA
TOMOKO YAMASHITA
ERI KANEKO
YOSHIKO YAMADA
MARIKO HATTORI