Indigenous goes mainstream in Palawan

On the first week of October 2002, Puerto Princesa, Palawan city councilor Nesario Awat proposed a resolution urging all cultural shows, producers, organizers and entertainers using indigenous material to avoid imitating songs, dances and other cultural presentations which were not faithful to the original or "distorted." The result was an outcry from the artist community who make their home in Palawan. In the hearing that followed, the words "distortion" and "faithful" were dissected and analyzed in relation to cultural shows with indigenous content. The artists were indignant and called the move a flagrant attempt to stifle art.

All art is interpretation. Any work that dares to be called art is in effect the point of view of the performer or the writer or the singer, distilled from the intellect and emotions and spirit. During the hearing, the artists, who ranged from musicians, painters, writers, actors and choreographers were all one in this, citing examples from their work.

A painter brought his rendition of a tribal woman done in the impressionist style. A musician cited the innovations on the beat of an original tribal chant. The evolution of life finds a mirror in art. Nothing remains static, least of all art. Dynamism, growth, movement – these are critical ingredients of art.

The dances, songs and poetry of the tribal folk of Palawan are rooted mainly in ritual. There are rituals to celebrate life and to mark milestones in the lives of these people. Taga Banua, the narrative dance performance by the Palawan Dance Theater Company, which had its world premier on Jan. 25 at the Legend Hotel, Palawan, features some of these rituals, then goes beyond. Against the rich background of the "opulent Palawan heritage," international dancer-choreographer and PDTC director Jay Loyola puts together a production which reflects what he calls "the lively connection between the wealth of new understanding and the riches of the older traditions." In this manner, the richness of our original cultures can be integrated into the mainstream, contemporary understanding. Works such as these serve as the bridge between the indigenous tradition and our daily lives in the modern world.

Taga Banua was inspired by Loyola’s visit to a Tagbanua village in Napsan town, a couple of hours from the city. Coming in at dusk into the village lighted by beeswax candles, creativity stirred within him to create the story that underscores the "perception of community, relationship and eventually passion and catastrophe." His choreography admits no profound anthropological perspective.

Rather Taga Banua presents a slice of life in a tribal village, mirroring life and death. It tells the story of Ambeguen, a village maiden whose arranged marriage to Maraja, a man of destiny, ends in tragedy when she falls in love with Lubatan, his right hand man. Tragedy and hope are juxtaposed, told in beautiful dance and powerful movement. The music, evocative of ancient drums and the kulintang, an indigenous string instrument, has been created specially by Mike "Mitu" Tupas, the Palawan-based performance artist. The costumes were designed by Susan Tupas, painter and jewelry designer.

The Palawan Dance Theater Company has excelled itself in performances here and in other countries. It was adjudged the best group in Festival Folklorico International in Alava, Spain. They have also been applauded in full-length performances in Thailand, Singapore, Germany, Austria and Italy and in major US cities. Loyola’s mentors include Hazel Sabas, Agnes Locsin and Tim Feldman, but foremost among them is Dr. Lucrecia R. Urtula, who was his teacher in the Bayanihan. His dream is to create a dance workshop in Palawan in her memory.