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By Nannette Matilac

Photos by Leonard Reyes, NTFP

To dance pangalay among ASEAN compatriots is a privileged experience, especially because fellow nationals from Asian countries appreciate this dance tradition that is akin to their own.

I was lucky to be in Siem Reap in October 2012 as the official documenter of the “First Regional Policy Workshop on Community Carbon Pools for Reduced Emissions from Deforestation and Forest Degradation Plus Enhancing Forest Carbon Stocks (REDD+).”

The conference gave me the opportunity to dance pangalay for cultural exhange and friendship during the closing dinner event on 25 October 2012 at the Angkor Paradise Hotel inSiem Reap,Cambodia.

Home to the architectural marvels of Angkor Wat, Ta Phrom, Bayon, Banteay Srei and other beautiful temples, the experience of dancing pangalay in Siem Reap side by side with the Robam boran performed by Khmer dancers,  is a gift.

The rationale of the conference–to reduce carbon dioxide emissions being released to the atmosphere of our planet that is now causing climate change—is an incredible task. The two-day meeting was convoluted with presentations, workshops, panel discussions and planning activities from morning to early evening.

Documenting the proceedings was exhausting and confusing especially with the quaint inflections, enunciations and pronunciations of fellow Southeast Asians. Imagine dealing with technical terms and acronyms–GHG, LUCLUF, CCP, CF, REDD+, UN FCCC and so on–along with struggle to decipher the words and meanings being articulated by the delegates. (For instance, “carbon rights”, the byword in the conference, was pronounced in peculiar ways indiscernible to my ears.)

Therefore, to be able to dance after the chores of two long days is a pleasure and a present for me, for the workshop participants, for Cambodia, for Asia and the world. It is also an opportunity to thank heaven for bringing me at the right place to dance the pangalay. After all, our ancestors danced to be able to affect climate and the seasons. Maybe I was dancing with them to help appease Mother Nature and influence climate change.

And, of course, there is the image of Shiva who dances to express vitality in the universe, maintaining harmony, symbolizing the twin opposites of life and death, of creation and destruction.  It is perhaps Shiva’s cosmic dance that influenced the dancing of the devatas and apsaras  magnificently sculpted on theAngkor temples in Siem Reap.  I suppose it is not by accident that the conference was held in the ancient capital of the Khmer civilization. Many of the bas reliefs on the stone walls beckon the story of the universe, the self-same story that is perhaps the bottomline underlying the jargon on reducing carbon dioxide emissions and climate change, which is the dualism in nature as expressed by the cosmic dance of Shiva.

As for pangalay, I have re-affirmed the original theory of my teacher Ligaya Fernando-Amilbangsa that pangalay is the “Philippine dance style closest to a classical form”, and the “living link to the dance cultures in Asia such as the Indian, Thai, Balinese, Javanese and Cambodian styles of classical dancing”.  I was told that the young dancers and the musicians who performed the Robam boran were smiling and nodding in appreciation as I danced the pangalay. Maybe they felt the affinity in their souls. In the corner of my eye, I saw some were busy recording the pangalay dance with their cellphones.

The Asians and Europeans among the audience articulated the similarity between the postures and gestures of the Khmer classical dance and the pangalay.

Ironically,  the Filipinos in the audience were clueless that pangalay is a Filipino dance style—not Thai or Khmer but truly Filipino. This brings to mind how deep the effect of colonial acculturation is on us, and how important it is to promote this precious intangible cultural heritage among the Filipino people.

Finally, dancing pangalay in Siem Reap have led me to deepen my understanding of the need to dance and breathe in harmony with nature to mitigate if not stop the devastating effects of climate change.

The more important occasion on the 2012 trip to Tawi-Tawi was the Local History Writing Seminar-Workshop  on 28-29 September 2012 held at the Sabdani Bulante Conference Room at the Mindanao State University-Tawi-Tawi.

The seminar-workshop was the brainchild of Prof. Filemon Romero, PhD. Aware of the importance of  reviving and promoting local history writing, various agencies supported the project: the NCCA, the MSU-TCTO, the provincial government of Tawi-Tawi, the local government of Bongao, among others.

Some 100 participants from the academe, local government, government agencies (NCIP and NCMF), civil society, cultural groups, and members of the Sultanate came to contribute to the field of local history writing in Tawi-Tawi.

Ligaya Amilbangsa delivered her paper: A Case Study: Method of Instruction for the Preservation and Conservation of the Pangalay Dance Tradition of the Sulu Archipelago.  She began her paper with words of wisdom from a seasoned cultural conservationist: “To disregard dance tradition is to lose history. Because other than the precious movement vocabulary and music, dance is costumes, accessories, properties, and context within its place of origin. The method of instruction should be easy to comprehend, simple yet precise, consistent, comprehensive, flexible and realistic. Sensitivity is a key to learning and gaining mastery of the pangalay movement vocabulary in such a method.”  Included in the demonstration are pangalay variants that reconcile tradition and transformation, thus illustrating that the distinct character of pangalay (also known as igal among the Sama and paunjalay among the Yakan) can be simultaneously preserved and conserved.

Nannette Matilac presented the prospects documenting local history in the digital age: “And if electricity and television changed life and culture in Tawi-tawi over a period of three decades since the early 1980s, digital technology is now changing life in the province in unknown ways. This change is exponential, with surprising consequences that are still immeasurable. The affordability and accessibility of cellular phones have changed the life in the islands, enabling people from hard-to-reach communities to communicate 24/7.  Since mobile phones are also handy multi-media instruments that can function as telephone, radio, voice recorder, organizer and camera —these instruments have been used by ordinary citizens to record anything and everything from mundane activities to important events.”

The seminar-workshop was a big success and plans for implementing the recommendations of the workshop are underway.

Photos courtesy of Cynch Paz.

Ligaya Amilbngsa with Governor Sahali (right) and ARMM Tourism Officer Nassreena S. Baddinni (left) watching the dance contest of the Agal-Agal Festival on 25 September 2012 at DepEd Compound in Bongao.

September is the anniversary month for the province of Tawi-Tawi, which  used to  be part of theprovinceofSulu.  On 11 September 1973, by virtue of Presidential Decree No. 32, Tawi-Tawi became a separate province.

September 2012 is the 39^th Anniversary of the creation of Tawi-Tawi. Ligaya F. Amilbangsa (ADC Artistic Director), Nannette Matilac (ADC Managing Director), Mariel Francisco (ADC Secretary)  and filmmaker Cynthia Paz traveled to Bongao to participate in the significant activities of the province.

Several events highlighted the anniversary celebration.

Street dancing with colorful floats precede the dance competition of the The Agal-Agal Festival on September 25, 2012.

Ligaya Amilbangsa was among the judges of Fluvial Parade on the Strait of Bongao on the 26^th of September.

August 2012 is memorable as the month with two full moons and rains brought about by the great ‘Habagat’ that caused the great deluge in Mega Manila.  The heavy rains and thunderstorms  did not stop the significant performances scheduled in August 2012.

DISCOURSING PHILIPPINE MUSLIM HISTORY AT NHCP

Two days after the Habagat floods, the AlunAlun Dance Circle performed at the National Historical Commission of the Philippines. Celebrating History Month in August 2012 with the theme “Kamalayang Kasaysayan: Sandigan ng Sambayanan”, the NHCP organized a forum on Muslim contributions to Philippine history.

Hundreds of students from various schools and universities trooped to the Multi-purpose Hall to listen to the lectures of important intellectuals and artists like Dr. Abraham Sakili, Dean Julkipli Wadi, and ADC artistic director Ligaya F. Amilbangsa.

The forum coincided with the opening of an art exhibit featuring the works of Dr. Abraham Sakili who is also a member of the NHCP Board.

The ADC performed several dance numbers after the lecture of Dr. Sakili.

The ADC performance consisted of traditional pangalay dances like the tawti, the bula’bula, tariray and the original pangalay choreography using a fan called Igal Kabkab. The performance was highlighted by a new choreography about a historical event that has become part of Sulu folklore. This is the abduction of Napsa which utilized the use of masks.

EID’L FITR AT THE SM THE BLOCK

The Eid’l Fitr shows at the Atrium of SM The Block in North Edsa gave us valuable experience in performing in a mall setting. It was a great challenge for the ADC to perform in a frenzied environment where throngs of people come and go from all directions.

The AlunAlun Dance Circle (ADC) performances were in cooperation with the National Commission for Culture and the Arts (NCCA)
Magbassa Kita Foundation, Inc. (MKFI), Autonomous Region of Muslim Mindanao (ARMM), Commission on Muslim Filipinos (CMF) and the Philippine Center for Islam and Democracy (PCID).

Important personalities attended the opening ceremonies of the Eid’l Fitr on 24 August 2012.  The keynote speaker was Hon. Juan Ponce-Enrile, Senate President. His speech came after the Linggisan and Pangasik performance of the AlunAlun Dance Circle.

Other luminaries who attended were former senator Santanina Rasul, chair of Magbassa Kita Foundation, Hon. Mujiv S. Hataman, governor of Autonomous Region in Muslim Mindanao, Hon. Mehol K. Sadain, head of National Commission on Muslim Filipinos, Amin T. Rasul, president of Philippine Center for Islam and Democracy, Atty. Adel Tamano, Atty. Romina Bernardo, Prof. Moner M. Bajunaid who is the secretary-general of the National Ulama Conference of the Philippines, QC Mayor Herbert Bautista and MMDA Chair Francis Tolentino.

BUWAN NG WIKA AT MIRIAM COLLEGE

Then on August 31, the pangalay choreographies of the ADC became a significant part of the Buwan ng Wika celebration of Miriam College.  This beautiful celebration was organized by  Dr. Corazon R. Reyes, director for Basic Education.

The Marian auditorium has a beautiful stage that enhanced the flowing movements of the pangalay.

Yes, August 2012 may have given us an unforgettable crisis by way of natural and man-made disasters. But it also offered us the grand experiences of performing for various audiences.

24 August 2012 featured a choreography on Linggisan and Pangasik during opening ceremonies:

Linggisan is a pangalay variant using the janggay or metal claws to amplify gestures and hand movements portraying images of a bird in flight, searching for food,or simply enjoying the gift of freedom. Pangasik is a pangalay variant that mimics the movements of a rooster.

PROGRAM onAUGUST 26, 2012

6 PM

Part I.  Traditional Dances

The first part of the program is about preservation. Tradition is essential to the soul of a nation.  It is the past living in the present, and reproducing itself for the future. But in order to continue tradition, we need to preserve it. So now, we bring to you the Pangalay dance style, also known as igal among the Badjaw, and paunjalay among the Yakan of Basilan province.

What is Pangalay?

Bula’bula—Pangalay danced to the rhythmic clicking of bamboo, wood, or shell clappers

Tauti—dance of the fishermen in catching catfish or tauti

Tariray—a pangalay variant of the Sama Dilaut or Badjaw. Tariray is a lively dance with bamboo clappers played in rhythm with the kulintangan beat

Eringan–a playful courtship dance called Eringan.

Linggisan—Numerous pangalay-style postures and gestures interpret a bird in flight in the dance called linggisan.

Second Part: Conservation of tradition

Conservation is acceptance of the transformation of tradition, but the introduction of change should be linked to the past.

The AlunAlun Dance Circle’s innovations keep pangalay relevant and appealing to contemporary audiences.  We use of masks, rhythmic sounds, improvised costumes, puppets, different types of musical accompaniment, and props, without losing the intrinsic character of pangalay.

We presented a series of dances accompanied by both traditional and contemporary musical compositions to demonstrate the versatility of the pangalay tradition.

The Abduction of Napsa—This is a dance scenario based on a historical event. The legend goes that Napsa is a woman who was seen dancing the pangalay in a ceremony where a powerful prince, Mawallil Wasit, was also present. Entranced by her beauty, the prince had abducted Napsa from Simunul Island in Tawi-Tawi. The story has become a legend in the scope of a metrical romance similar to Florante at Laura.

Igal Kabkab—original pangalay choreography by Ligaya Fernando Amilbangsa using the fan (with the song ‘Babae Ka’ by Susan Fernandez) The femininity and strength of women is conveyed in this simple fan dance. Award-winning composition, music and lyrics by Ananias Montano.  Rendition by Susan Fernandez.

Sa Ugoy ng Duyan—A lullabye portraying a child’s nostalgic reminiscence of his mother.  Composed by Lucio San Pedro, with lyrics by Levi Celerio. Rendition by Regine Velasquez.

Sa Kabukiran—folk song rendered by Gilopez Kabayao interpreted in pangalay choreography

This is our Country, Philippines—patriotic novelty song by Yoyoy Villame

July and August are busy months for the ADC with performances for Southeast Asian audiences in various venues in Metro Manila, namely for the Ateneo Student Exchange Council Cultural Program on July 15, 2012, the Commemorative Program of the 45th Founding Anniversary of the Association of Southeast Asian Nations (ASEAN) at the DFA Auditorium on 10 August 2012 ang the Eid’l Fitr Festival at the Atrium, The Block SM North Edsa on 24-26 August 2012.

August 2012 is also the celebration of Buwan ng Wika. The ADC will perform a full-hour show for elementary and high school students of Roosevelt College.

The Breath is the Life Force which is also the foundation of  pangalay movements.  (The same is true for Asian movements like qi gong, tai chi and aikido.)  Being a dance style not predetermined by linear time but by breathing in harmony with nature, pangalay connects the dancer and the audience to the Life Force.  Oftentimes, spectators of pangalay say that its slow and meditative movements are likened to a prayer.

Pangalay also promotes gentleness and harmony with inner and outer surroundings.  When we learn how to work with the Breath and allow the energy to do its own work freely as we dance, we can affect ourselves and our surroundings.

Meanwhile, the outer world—the modern world with its high-speed technology and unsustainable pattern of production and consumption– is the opposite of the slow and languid movements of pangalay.  The modern world produced the inconvenient reality of pollution, ecological imbalance, deforestation, and climate change that is now pushing the Earth to the edge of destruction.

In “Pangalay ng Bayan: Alay sa Kalikasan,”  Ligaya Fernando-Amilbangsa choreographs new works with the AlunAlun Dance Circle to promote awareness about climate change and other environmental concerns. The new dances will help raise consciousness about people’s responsibility in caring for the environment.

Program