TP's Insiang: Daya at Laya

Images from www.tanghalangpilipino.com (Go and check out their site now! Nood na!)



I saw Tanghalang Pilipino’s rerun of Mario O’ Hara’s Insiang at the CCP last November 25 with some friends. Thanks to the subscription (Totally worth it!), we had good seats in the small Huseng Batute Theater.

I’ve waited a long time to see Insiang, having not caught its run in 2002. As I couldn’t use my pass for the initial October run, I had to wait another month. I was already excited by the buzz created by Bright-Eyed Boys, by numerous blogs, especially Gibbs Cadiz’s, and by celebrities and media folk who’ve raved about the production

The programme and the official website (http://www.brighteyedboys.com/insiang) summarize it:

The virginal Insiang boldly holds on to her dreams as she makes her way through the comic, complicated and reckless surroundings of the slums. Still reeling from the untimely death of her father, the young girl seeks affirmation from her mother who continues to be embittered by their situation. She discovers that love and comfort are short lived in the arms of her boyfriend and stepfather. A dangerous flower blossoms in the midst of the squalor as utter desperation sets in. Friends and neighbors can only watch helplessly as the jolting finale unfolds. The wrap-around set and the environmental staging puts audiences in the middle of this unsettling tale about the ruthlessness of power and the failure of forgiveness.

It was only when we entered the theater that I understood what the synopsis meant by “environmental staging.” To say that the wrap-around set was realistic is an understatement. Huseng Batute is small to begin with, but because of its size, it offers flexibility in staging and a sense of intimacy important in telling tales like Insiang’s. Consuming two sides of the small box-theater are urban shanties two storeys high, with Insiang’s as the only one fully exposed to the audience. Wooden scaffoldings rise directly above the audience so that looking up, one sees patches of rusting yero. Criscrossing just below those are black electric wires, tangled as in the real world. Further down are clotheslines with blankets and dusters hanging about.

The shanties look genuine, with trash stocked here and there and laundry hanging everywhere. The raised stage wraps around the audience along two sides and ends as a central ramp: the tubigan/labahan where tsismis is spread and lives are bared. Even behind the audience (along the back walls) there are sari-sari store posters and clothes hung about. If you wanted to, you can reach out and touch the set or even the players. In fact, the audience was so near the action, some unfortunate members got sprayed with “blood” in one of the violent scenes. You’d almost think as though you were really in the slums of Pasay save the air-conditioned setting and theatrical lighting.

The set makes you feel immediately part of the action and, indeed, that is needed as gossip seems to be one of key facets of the play. In this small community, everyone knows everything about each one’s lives. The questions that follow are: with all the tsismis going about, which are true and which must be believed? Toyang is at once introduced as the narrator figure and serves as our guide in telling the story of Insiang. Her addition creates a smoother flow for the story and helps introduce flashbacks well. As with most narrator figures, she has the power to stop occurrences, play them back again, and talk to the audience directly. Aside from this crucial task, she provides comic relief- sometimes juxtaposed with some of the most violent scenes you’ll see onstage, leaving one in the purgatory of laughter and shock.

Sheenly Vee Gener and Mailes Kanapi are wonders as actresses! I’ve never seen more powerful live performances than theirs. The gradual transformation of Sheenly from virginal Insiang to dangerous flower is flawless. Ricky Davao was menacing as Dado: a believable yet frightening “villain.” Peewee O’Hara was endearing as Toyang, bringing the right amount of comedy when the play called for it. The rest of the ensemble are also something to look forward to in future productions of TP. The show only reminded me why I love the company’s productions so much.


Insiang for me is a story of power and oppression. I remember vaguely Fr. Albert Alejo, S.J.’s article, Laya at Daya. Forget the power plays in Malacanang or Makati. The real power struggles happen down to the level of the masa. Oppression is not just a problem caused by those above. It is a vicious truth even to those below. Ika nga ni Dr. Gus Rodriguez ng Philosophy Department, “Being simple is different from being just. You can live simple lives and still be unjust.”

Napag-iisip ka kung kaya ba talagang mawala ang siklo ng Daya. Lahat tayo, dumaranas ng Daya sa iba’t ibang paraan. Ang masaklap, minsan naiisip natin na sa pagiging mandaraya sa halip na nadadaya, mas nakalalamang tayo at mas bubuti na ang buhay. Naghahanap tayo ng paraang mabawi ang nadaya sa atin at patuloy lang ang siklo.




Insiang, the innocent and oppressed, eventually learns to be the oppressor and still we cannot help but feel for her, even with her wicked deed at the end. We start to think if her setting could have allowed for any other course of action. Was there really no escape from this cycle of injustice?

Toyang frames the disturbing story as though it were a Pinoy telenovela. Amusingly, she gives technical descriptions of what happens next and later concludes that this is real life and not a telenovela. There is real-life drama happening in these communities; there is a real power-struggle. Even just from the sharing of experiences of Ateneans coming from their different immersion programs, we learn of different forms of injustice. Kung ang mga magsasaka na lang ng Sumilao, hindi pinakikinggan ng mga nasa itaas at hindi man lang pinakialaman ng marami nang magsimula sila, paano pa kaya ang mga kwento ng daya na sa maliliit na komunidad nangyayari? For all we know, we already have a multitude of Insiangs, jaded, shattered, and dead inside.

Of course, we know there is hope for change if we end the cycle of daya with ourselves and live as just as we can. It may take courage to cry out in the face of injustice and start the change, but it is achievable. We need not look far in looking for models for change: Gawad Kalinga, Simbahang Lingkod ng Diyos, JVP, and others working for change. In our hearts, we hold that freedom is at hand.

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Last three shows of Insiang today 8 December, 2007 at 3pm and 8pm and tomorrow, 9 December at 3pm. CCP Tanghalang Pilipino 8233661. NOOD NA!!!

Great production images seen at Jojit Lorenzo's Multiply Site: http://jojitlorenzo.multiply.com/photos/album/61/Insiang_performance



cross-posted: davidplatz.blogspot.com

His Dark Materials: What do you mean anti-God?

After reading the entire series, I was not offended as a Catholic. Perhaps it is true that if you read the series and your faith is shattered, then it may not have been strong enough to begin with. At the very least, it makes one question if he has really tried to understand what he believes in. (Theology as Faith seeking understanding, anyone?) If one is moved to learn more about his beliefs to have things clarified, then great! We shouldn't be drones and blindly accept what is thrown at us anyway.

It's interesting to note sometimes how the Magisterium of Lyra's world has corrupted different Church dogma found in "our world" too. We see scenarios speculating what could have happened if the Church hierarchy focused on building power alone, if the inquisition continued, and if dogmatic control was the only thing on its mind. We then start to think and be glad it's not the same in our world. (Or shudder at the thought if we are going there). Also, I believe one must not take the book as a religious treatise, but as a simple work of fiction. Pullman expresses his beliefs through some of the characters, but at the end, will not force you to share his own.

There is one statement I'd like to address, though, and it pertains to all organized religion:

Pullman writes, “But when you look at organised religion of whatever sort – whether it's Christianity in all its variants, or whether it's Islam or some forms of extreme Hinduism – wherever you see organised religion and priesthoods and power, you see cruelty and tyranny and repression. It's almost a universal law."

I don't believe that it's a "universal law." Perhaps he wrote this passage just as an extreme way of showing even organized religion can still go wrong at times and it is in such times that it must be wary of its power. It's not all cruelty, tyranny, and repression that we see in religion. There is a wealth of experiences immersed in love, sacrifice, and hope too.

The series' critics have a lot to say about the atheistic and anti-God sentiments of some characters. First, let it be clear that the Authority they speak of is different from the God we may believe in. His folklore may be based on some Gnostic beliefs that the God people know is different from the Creator. In the story, the Authority was just an early angel who seized control over all. Eventually, even this Authority grew older and simply delved into mysteries while his Reagent, the Metatron took over. It is this Metatron who was portrayed as ruthless and power-hungry. The novels are anti-authoritarian, against institutions that are drunk with power and stifle creative thought and free will.

Some of the best lines I've read regarding belief in God came from the third book in the series: The Amber Spyglass. Near the end, Lyra and Will question Mary Malone, a nun turned particle physicist and a self-proclaimed atheist, about her past and her faith.

"When you stopped believing in God," he (Will) went on, "did you stop believing in good and evil?"

"No. But I stopped believing there was a power of good and a power of evil that were outside us. And I came to believe that good and evil are names for what people do, not for what they are. All that we can say is that this is a good deed, because it helps someone, or that's an evil one, because it hurts them. Peopre are too complicated to have simple labels."

"Yes," said Lyra firmly.

"Did you miss God?" asked Will.

"Yes," Mary said, "terribly. And I still do. And what I miss most is the sense of being connected to the whole of the universe. I used to feel I was connected to God like that, and that because he was there, I was connected to the whole of his creation..."

She reflects again a few moments later.

This was the very thing she'd told Will about when he asked if she missed God: it was the sense that the whole universe was alive, and that everything was connected to everything with threads of meaning. When she'd been a Christian, she had felt connected, too; but when she left the Church, she felt loose and free and light, in a universe without purpose.

And then had come the discovery of the Shadows and her journey into another world, and now this vivid night, and it was plain that everything else was throbbing with purpose and meaning, but she was cut off from it. And it was impossible to find a connection, because there was no God.

Now how can that be anti-God?

Himala the Musical: on faith and freedom

It was November in 2003 when I first saw Tanghalang Pilipino’s musical adaptation of Himala with a bunch of high school friends. The wish to see it first came more from intrigue than interest as I only saw the name of the production in a CCP calendar I got after watching Ballet Philippines’ Darna that year. Before that night, I had never seen the acclaimed film, nor read its screenplay. All I knew, as was probably the case with other Filipinos unfamiliar with the film, was that Nora Aunor starred in it, it was an important film in its time, and that it gave birth to the immortal line, “Walang himala!“

(Image of the 2nd staging og Himala from www.tanghalangpilipino.com . Visit their site to check for shows, get additional info, or buy tickets. Nood na!)



I still remember that night as though it were yesterday. The production was held in CCP’s Tanghalang Huseng Batute, (the experimental studio theater). Upon entering the theater, I was hooked by the set immediately. Taking up almost three-fourths of the entire theater was the stage: a tilted platform. Scrawled on the angled stage in chalk were prayers that seemed to be in different dialects. These led one’s eyes to the farthest corner of the stage in which was set an enormous dead tree atop a small hill. Extending from these corners were the two other walls of the set, reminiscent of wooden walls with platforms jutting out every so often. We would later realize that these wooden panels opened automatically to serve as windows or doors to the different houses of barrio Cupang. Barrenness was an instant theme, with the dead tree and the desert-tan hill and walls. At the very top of the walls was an intriguing and unsettling site. It seemed as though the walls ended with soil, grass, and crosses jutting out of the “ground.” Looking at it from top to bottom, it seemed as if the entire town were set in a deep grave- miserable and inescapable. I knew then that this show was to be something special.

I knew of Vince de Jesus’ music through a song in the Hangad Acapella album— “Sabay sa ihip ng hangin”, a lovesong-prayer to God. It came as a surprise later that the song was included in the score in one of the most intense moments of the musical. I admit, there were some times when I couldn’t get the musical sense of some of the songs. The only thing I could remember was that appreciating it was like a first listen to an unfamiliar Sondheim score— with moments of “What happened there? What note was that again? Wow, that’s difficult to sing.” followed by sudden breaks of truly melodic lines that hit the point and hit one’s heart. By the end, I was in praise of the production.

For me, the musical style complemented the show’s major themes and flow. There would be moments of uncertainty— of tones seemingly in discord and dissonance, suddenly followed by lines hauntingly clear and melodic. Cupang would be in distress and sickness followed by comfort and healing through Elsa. With Elsa’s healing bringing fame to the town, it would afterwards experience a different kind of confusion: that brought about by a tourist frenzy and a blind belief in Elsa, only to be silenced and wiped away in time. Even Elsa would have her moments of doubt and confusion, followed by a terrible loss, and finally a clarity of mind leading to her final confession.

The actors and actresses then were stellar both vocally and acting-wise, especially May Bayot as Elsa, Dulce as her mother, Cyntha Culig-Guico as Chayong, her close religious friend, and Isay Alvarez as Nimia, the returning town whore and Elsa’s estranged friend.

The icing on the cake was a special guest present in the audience that evening. Yes, the original Elsa was only a few seats away from us that night. Nora Aunor was there and seemed to truly enjoy the production. (I wonder if she still thought she could have done as good a job as May Bayot?)

I left the theater that night reaffirmed that Philippine Theater is indeed beautiful, alive, and ever-improving. Gino Gonzales immediately became my favorite production designer, Tanghalang Pilipino topped my list of Philippine companies, and, Vince de Jesus (of current Zsa Zsa Zaturnnah ze Muzikal and ABS-CBN fame) became someone to look forward to in future productions.

That night was so memorable that when Himala was restaged in a larger venue a second time during the National Theater Festival in 2004, I was back with the same friends to see it a second time.

Last November 8- almost exactly four years after I first saw the production, I was back at the CCP to see a special preview of the new run— one that was to be presented in the Contemporary Theater Festival in Shanghai this year. Talk about super-fans seeing a production a third time!

As with all things, the production turned out to be the same and not the same. The same because it contained the original songs and retained most of the original cast. Not the same because of the new simplistic set, the reordering of some songs, and the streamlined storyline. It still was heavy and moving material and I still loved it, but it was though an important cast member was lost with the absence of that enormous set. The streamlined plot led to a faster-paced musical, which I’m sure would be appreciated by more people. All in all, some changes here and there couldn’t take anything away from this superb piece.

The experience was different too with some insights that were probably more distilled after seeing it for a third time. For instance, the very incident of the vision or himala led to more questions and speculations. Throughout the play, we would hear of stereotype descriptions of the three friends: Elsa as smart (matalino), Chayong as prayerful (madasalin), and Nimia as brave (matapang). We would see the latter two’s sterotypes clearly present in their decisions and actions. Elsa, however lacked that concrete “matalino” mindset. Could it be then that the vision was indeed all a ruse by this smart Elsa to bring her people together and inject a little hope in the religious community? Did she find ways to heal her townsfolk through means fully explainable by her smarts? As said by Tomas del Rio in an earlier article, was the blinding white light that enveloped Elsa at the start a true vision, or the quintessential lightbulb that signaled a sly new idea forming in her mind?

As the show progressed, the importance of the “reality” of the miracles dwindled as the choices of the people affected by the phenomenon are placed centerstage. How did Elsa’s friends react? How did her mother take her fame? How did Nimia deal with the religious frenzy? Was the town able to escape its desolation and barrenness with this himala? Ricky Lee himself believed that the show was more about the questions it generated than the answers it provided.

The songs hit deeper this time too and made me finally decide that I had two favorite scenes in the musical: both of which were prayers. Both scenes happened after Elsa and Chayong faced a devastating event in their lives. Forced to question their own beliefs and the meaning of their lives, these two scenes formed the core of the musical for me.

The first was Elsa’s prayer. Her words are unforgettable. In deep anguish followed by anger she cries out to a silent Virgin Mary or even a silent God:

Bakit ang tahimik Mo naman?
Madaya Ka! Ako’y kausapin Mo!
Hindi Mo ba nakita na doon sa burol winasak nila ako?

May isang tinig na hindi mo narinig
Sumisigaw dumadaing
Iyon ay tinig ko… iyon ay tinig ko.
Nasaan ka na? Nandito ako ngayon!
Ang Elsa Mo, si Elsa mo!
Kailangan ko ring maghilom… kailangan ko rin maghilom!

Magpakita kang muli! Ako’y linisin Mo.

Immediately following this scene is Elsa’s religious friend Chayong in a less anguished state as she was previously. She walks slowly bearing a candle and sings her prayer sweetly, almost as if offering a love song:

Ihip ng hangin, pakinggan mo’t iyong maririnig
Awit ng pag-ibig, alay ko sa’Yo lamang
Kahit na ilang ulit Mo nang narinig, sana’y pansinin
Ang tinig kong umaawit ng kundiman
Ang puso kong sabik sa ‘Yong kanlungan
Ako sana’y mahalin kahit nagkadungis
Kahit ako’y maligaw, sa ‘Yo ay babalik
Sabay sa ihip ng hangin
Kailan kaya ang susunod na hanging darating?

Kahit na ilang ulit mo nang marinig, sana’y pansinin
Ang tinig kong umaawit ng kundiman
Ang puso kong sabik sa ‘Yong kanlungan
Iyo sanang marinig aking panalangin
Na kahit ako ay maligaw, sa ‘Yo ay babalik
Sabay sa ihip ng hangin.
Tangi kong ligaya ay makapiling Ka!

(Song also in Hangad Acapella)

With the contrast of these two prayers, one is truly disturbed that in the next scene, it is Chayong who takes her own life.

Is it perhaps an active faith then that grapples with the blows and trials sent one’s way that succeeds and finds true meaning. Anger, then, must be acceptable especially if it leads to a deeper understanding of one’s self and one’s faith. In the end, it is the blind belief of barrio Cupang, of Chayong that becomes frail, inexplicable, and eventually damning. To succeed and find meaning, we take part in creating it ourselves. We choose to have faith and not let it be imposed on us simply, as a belief in a curse is imposed blindly on a Cupang. This is why Elsa’s final lines ring true to this day:
Walang Himala! Tayo ang gumagawa ng Himala. Tayo ang gumagawa ng mga sumpa. At tayo ang gumagawa ng mga diyos!

I do not believe that this is an atheistic statement, nor a trashing of the possibility of wonder or even so-called “simple miracles.” What it bashes is the simplistic view of a miracle, the death of choice and will, the blindness of some forms of faith.

We still do need miracles every now and then. But miracles come in many ways and forms and we need not look for grand occurrences or signs. The musical ends on a positive note:

Anong kailangan mong marinig?
Anong kailangan mong makita
Bago ka maniwala?
Hihintayin mo bang umulan ng rosas
Hihintayin mo bang bumaba ang kamay ng Diyos mula sa langit?

O sapat na sa ‘yo ang ngiti ng sanggol?
Sapat na ba ang patak ng ulan?
Sapat na ba ang wagas na pag-ibig
Bilang isang himala?

Ang himala ay nasa puso ng tao.
Ang bawat puso ay pugad ng himala.

It was only after seeing the theatrical version that I got to see the film via CinemaOne during the Lenten season. I understood then why so many Filipinos loved this film. I believe it now to be the greatest original Filipino film since the 80’s.

If Himala the musical comes back for a fourth run expect me there. And please, TP, record the cast album finally that time around and Star Cinema or Unitel, please release the film on DVD already! Treasures like these must be shared. The day that happens will already be a miracle for me.

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Pictures of the current production can be found in Jojit Lorenzo's Multiply Site:
http://jojitlorenzo.multiply.com/photos/album/68


Crossposted: davidplatz.blogspot.com

From JK Rowling herself: Dumbledore is gay

Ah, Dumbledore did have someone special-- Grindenwald. Saw the news off oui's blog and checked the Leaky Cauldron too. Incredible, but with Jo's explanation, makes sense. Interesting event transcript.

Tama nga hinala mo, oui! Haha.

The link to the news:

J. K. Rowling at Carnegie Hall Reveals Dumbledore is Gay; Neville Marries Hannah Abbott, and Much More

My Laptop: RIP. Is it time to switch to a Mac? Let me know.

After three weeks of waiting, I finally got the news. My laptop is dead. The technician said it was a busted circuitboard. Apparently, getting a new board for my old laptop is not practical anymore (It'd cost like a new basic laptop already).

Hay, Murphy's Law. Bakit ngayon pang naghahabol ako ng thesis at kailangan ayusin ang biochem lectures.

Anyway, I've been scouting for a new laptop via the net. I intend to get it elsewhere- HK, Sngapore, or the US. (As long as I finalize the list of people going there and getting back here by november). I've also been seriously considering getting a MacBook recently. A friend just got his after being a long-time PC-user and he's had a great experience so far.

My major concerns about getting one before were compatibility issues but since the new Leopard OS is coming out in a week, all that's been blasted away. (Check out the bootcamp feature using this link: BOOTCAMP-run windows on your mac too. You can run two operating systems at the same time on a partitioned drive with the new OS. Grabe na ang MAC). Hopefully, I can get it discounted too with the help of another friend.

LEOPARD'S BOOTCAMP

MAC-users and fans, tell me what you think. You know what they say- "Once you go MAC, you never go back." Is it time? Hehe.

His Dark Materials Addiction Part 2

New Addiction: His Dark Materials

Since Harry Potter is done (How long 'til the encyclopedia, Jo?!). I've been looking for new easy reads on the fantasy/sci-fi side. I got a copy of a collection of Philip K. Dick short stories (Human Is?) and have gone through some of them. Philip K. Dick is a great writer-- interesting and scary how he conceptualized his futuristic plots and died a year before I was born. (FYI- the films Blade Runner, Minority Report, Paycheck, A Scanner Darkly, and Next are all based on his stories). I wanted something more substantial, at least in terms of scope and length.

I saw the trailer of The Golden Compass recently and was intrigued on what book it was based. Good thing Oui here was a Philip Pullman fangirl and raved about the series. Visited Fully Booked one evening, saw a really nice (and cheap) paperback edition, and bought it. The first two chapters weren't very engaging, but when Lyra, the lead girl, began to travel, I couldn't put the book down! I finished it early one morning and just had to buy the last two books that day. I still don't think it'll top my Harry Potter fanaticism, but it may just be too early to tell.

Hopefully, I finish the series this week.

Funny story too- I was calling different bookstores to ask if they had the next two books. Let me just say that it was a challenge every time I asked for "The SUBTLE Knife". May isang hindi talaga ma-process yung silent "B" at paulit-ulit ako tinanong. Hay. Hindi ko alam kung malulungkot ako o ano.

If you haven't read the Dark Materials series, start now! Great twists await. Plus the film comes out first week of December. If you have read it, wait for me. Then let's talk.

Tanghalang Pilipino: Mulan Revisited

A bunch of my mom's friends wanted to give me a gift for the chemboard results. When they asked what I wanted at the moment, I said that Tanghalang Pilipino seemed to have an interesting line-up of shows this season and that I was interested in seeing them. I've always been a Tanghalang Pilipino fan, ever since seeing their first stage adaptation of Himala, which I still hold as the best original Filipino musical I've seen. (Too bad there's no cast recording... Bring it back and record it, TP!)

I finally learned these friends of ma's were willing to get me a season pass and soon enough, I was off with a friend to see Mulan. Unfortunately, I missed Pilipinas Circa 1907, but knowing I can see the other shows hassle-free is exciting.

Their 21st season is billed as "Powerplays: Tagisan ng Lakas". The following excerpt and the season image are from their official site: www. tanghalangpilipino.com:



"Tanghalang Pilipino’s 21st Theater Season comprises plays that delve into issues of power and power relations. PILIPINAS CIRCA 1907 examines political conflict and family relations through a pair-of star-crossed lovers amidst the period prior to the 1907 national elections, a time when America was more than just in the hear. MULAN is a musical retelling of the Chinese tale where wars are fought not just by men but between Gods, fit for children of all ages. EJ attempts to delve into what makes heroes and the sacrifices they make as it re-imagines the lives of two contemporary martyrs – Edgar Jopson and Evelio Javier. KUDETA is a wickedly funny play about a coup that topples a country’s President and how he manages to thwart his enemies with all the weapons in his disposal."


Not mentioned in the quote is their revival of Mario O'Hara's Insiang which won the 2003 Aliw Awards for Best Play, Best Director, Best Actor, and Best Actress.



Not Quite Disney = Very Good

As there was already a Disney version, I knew Mulan would be something very familiar and accessible. Martin and I went to the theater knowing the prod would be in Filipino, but joking there would be a moment when the Mulan would suddenly break into song with the lyrics, "Look at me. I can never pass for a perfect bride or a perfect daughter..."- ala Lea Salonga or Christina Aguilera. Of course, we would be shocked (and laughing inside) if this ever happened.

For TP's Mulan production, we expected a whimsical adaptation that would, at the very least, be a feast for the eyes. As it had Gino Gonzales as production designer, the show, we knew, would not let us down in this aspect.

Fortunately, there was no Disney "Reflections" moment (but there was another song depicting the exact same scene of Mulan's major decision) and the show, over-all, was a delight to watch. The music was reminiscent of traditional Chinese operas and instrumentals that set the mood of the show. Although some songs were not exactly catchy and were hard to understand or follow at times, the show did not suffer much from these difficulties.

Visually, Mulan was wonderful. It was advertised as a children's play, and had I seen it as a young kid, I would have been amazed at how the characters looked like. Watching the musical was like seeing a live-action anime, with the characters in colorful padded costumes and their hair arranged in uncanny, sometimes almost comedic, ways.

Images from the programme and http://www.tanghalangpilipino.com/:

Most amazing are Marjorie Lorico and Jonathan Tadioan who played Empress Wang Mu and the Jade Emperor, respectively. Donning gigantic body-pieces (ala-Higantes Festival), these actors played the kingdom's monarchs. Literally, the emperor and empress were portrayed as gods-- larger than life, with control over all aspects of their citizens' life. Kudos to these two who brought life to the characters very well despite being in those gigantic costumes.

The movement of the characters added to the charm of the show, as almost every character's line had a corresponding action. More engaging are the martial-arts inspired choreography. The exaggerated movements, as a whole, turned out like a well-planned dance that makes one feel like watching a traditional Chinese opera or a Japanese Noh.

The production was short (perhaps so as not to bore the children watching it) and we would have wanted to see more. Still, it was satisfying and I look forward to seeing the rest of the shows this season. Can't wait for Insiang.

Initiale

Dahil simula na naman nga ito ng pagsusulat sa blog (na ipinangako ko sa sarili ko at sa ilang kaibigang seseryosohin na), heto muli ako. Susubok. Dahil bagong simula, isang pagbabahagi sa mga simula. Ito ang talumpati ko nang tanggapin ang parangal ng No.1 chemistry board passer sa 2007 PRC Panunumpa ng mga Bagong Kimiko.

Initiale.
Talumpati sa Panunumpa ng mga Bagong Kimiko
Ika-7 ng Oktubre 2007, Manila Hotel
DPPeralta

Kagalang-galang na mga pinuno, natatanging mga panauhin, mga kapwa bagong-kimiko, kapamilya, at kaibigan, isang magandang hapon sa inyong lahat.

Ito ang panahon ng paggawa.

Hayaan ninyo akong magbahagi ng kwento mula Pambungad sa Metapisika, akda ni Padre Roque Ferriols ng Kapisanan ni Hesus, hango sa Landas ng Tsinong Pilospong si Tswang Tsu.

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Noong araw, meron daw isang matandang manggugulong. Nagkataon na habang gumagawa siya ng gulong, dumaan ang isang hari. Nagbabasa iyong hari.

Ano ba ang binabasa mo, o hari?

Mga dakilang katha ng marurunong.

Ang mga marurunong na iyan – buhay pa ba sila o patay na?

Patay na.

Kung ganoon, huwag mong tatawaging dakilang katha ang binabasa mo. Kung talagang may dakilang kinatha ang isang tao, matutuklasan lamang ito sa kanyang mismong buhay. Ang mga kasulatan ng isang tao ay labi lamang ng kanyang pamumuhay. Kung baga sa pagkakarpintero, pinagkataman lamang at pinaglagarian iyang aklat na hawak mo. Bagay lamang itapon o igatong.

Nagalit ang hari: Tinutuya mo yata ako. Kung hindi mo mapatutunayan ang iyong kasasabi, pupugutan kita ng ulo.

Diniskursohan naman ngayon ng matanda ang hari:

Tignan mo ako. Pitumpung taon na ako. Gumagawa pa ako ng gulong. Sinabi ko na sa anak ko: Kapag magaan ang kamay mo, anak, lalabas na walang hugis ang gulong. Kapag mabigat naman ang kamay mo, hindi pa yari ang gulong, nawasak na. Pagalawin mo ang kamay sa pagitan ng magaan at mabigat.

Pinakinggan ako ng anak ko at naunawaan niya ang aking salita. Ngunit hindi pa siya makagawa ng gulong. Hanggang ngayon, ako pa ang nagpapakapagod. At bakit? Sapagkat hindi pa nauunawaan ng anak ko, kung papaanong makagagalaw ang kamay sa pagitan ng magaan at mabigat. At papaano nga bang makagagalaw ang tao nang ganito? Hindi ko kayang sabihin. Kaya ko lamang gawin. Sapagkat, sa paggawa ng gulong, kapag nasabi na ang lahat ng masasabi, ang pinakamahalaga ay hindi masasabi. Magagawa lamang. Mauunawaan lamang ng kamay na gumagawa. At kapag nagawa na, lalabas na pinagkataman lamang at pinaglagarian ang lahat ng nasabi.

At ano naman ang nangyari sa anak? Hinuha ni Padre na habang nagsasalita ang hari, narinig ng nagtatagong anak ang usapan at tinignan ang kanyang mga kamay. Sa paggawa ng gulong pinagalaw niya ito, pinabigat at pinagaan. Araw-araw, subok siya nang subok. Minsang tabingi, minsang sira, hanggang unti-unting dumami ang nagawa niyang tunay na gulong. Hindi naglaon ay buo na ang pag-uunawa ng kanyang kamay. Manggugulong na siya.

Kalian ba ako naging manggugulong? Hindi ko alam. Basta’t sikap ako nang sikap, at sa sandaling hindi ko alam, natuto ako.

Pumunta siya sa libingan ng ama at sinabing, “Ama, tama yata ang sinabi mo. Hindi nga masasabi ang pinakamahalaga. Subalit nagkamali ka yata nang sabihin mong pinagkataman lamang ang lahat ng nasabi. Kung hindi ko sinubukang gawin ang masasabi, hindi sana tinubuan ng pag-unawa ang aking kamay.

Di naglaon ay nagkaroon din ang batang manggugulong ng sariling anak. Namuhay sila sa piling ng ibang manggugulong. Sa kasamaang palad, sa ibang ito, nasabi na ang lahat ng msasasabi, sabi pa rin sila nang sabi. Naalala ng manggugulong ang ama. Sa kanyang anak ngayon, naisip niyang pinakamabuting sabihin ang lahat ng masasabi, at pagkatapos nito, ay tumahimik, at gumawa. Bumisita siya sa libingan ng ama at wala na siyang masabi. Napakalalim ng katahimikan. Maliwanag na pala ang lahat.

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Salamin ng pagkatuto natin ang kwento ni Tswang-Tsu. Marahil para sa ating lahat, nagsimula ang lahat sa impluwensya. Sumunod ang mga taon ng pagkamangha, pakikinig, at pag-aaral. At ngayon, sumasapit ang buhay-propesyunal.

Katulad ng ama, kahit papaano ay may humimok sa ating pasukin ang karerang ito. Pilit man o bukal sa loob, may nagpagalaw sa ating maging kimiko at mabuting aalalahanin at pasalamatan natin sila ngayon.

Sa maniwala kayo’t hindi, matagal-tagal na paghihimok at pag-iisip din ang kinailangan ko sa pagiging kimiko. Ginusto kong maging isang doctor o Molecular Biologist noon. Naaalala ko pa ang aplikasyon ko pagpasok sa Ateneo at ang paglista ng mga kursong nais ko. Una- BS Biology. Ikalawa- BS Psychology. Sumunod- Applied Math, at huli sa lahat, isang kursong Management na may halong kimika. Matapos ang matinding pag-iisip, pagdarasal, at pagkonsulta sa kaibigan, kapamilya, at sa minamahal naming guro sa kimika sa mataas na paaralan noong si Dr. Assunta Cuyegkeng, napagdesisyunan kong lumipat sa kimika dahil ito raw ang mabuting huhubog sa akin sa linyang nais kong pasukin. Kung hindi rin siguro dahil sa mabuti kong karanasan sa kimika sa mataas na paaralan, hindi marahil ako nahimok at wala marahil ako rito ngayon. Hindi ko unang pinili ang linyang ito, subalit kinupkop ako nito, pinalago at itinangi. Nagsimula ang lahat sa isang nagbigay-liwanag sa propesyong ito para sa akin.

Sumunod ang mga taon ng pakikinig at pag-aaral. Naaalala natin ang mga propesor na sabi nang sabi, at tila walang tigil ang pagsasabi. Kahit sila ay pinasasalamatan natin ngayon. Namangha tayo sa mga kayang gawin sa mundo ng kimika, nagulantang sa mga tanong ng mga terror, at nag-alinlangan sa pagsubok gumawa sa laboratoryo. Hindi rin naglaon, natapos ang mga taon ng pagkamangha at pakikinig. At heto— naririto tayo ngayon matapos maipasa ang ilang pagsusulit. Matatawag na raw tayong propesyunal.

Paano nga ba natin masasabi ngayong propesyunal tayo? May isang tiyak na panahon, minuto, o segundo ba? Hindi yata natin masasagot ang katanungan katulad ng batang manggugulong. Kung tama ang wika ni Tswang Tsu, malayu-layo pa ang tatakbuhin natin. Marami-rami pang sirang gulong na gagawin.

At ano nga ba ang kahulugan ng “propesyunal” sa atin? Tuwing nababanggit ang salitang “propesyunal,” iilang bagay ang mabilis na sumasagi sa ating isip. Nariyan ang kimikong taga-analisa sa laboratoryo- papasok araw-araw, susukat rito, magpapagana ng instrumentong ito’t iyan. Magbabasa at magpapaliwanag ng ilang resulta, at sa pagtatapos ng araw ay uuwi sa paghihintay ng muling pag-analisa sa susunod na araw. Hindi sana nalilimita rito ang pagtingin natin sa “propesyunal.”

Ang pagiging propesyunal ay hindi ang pagkamatay ng pagkamangha, o ang simula ng isang nakababagot na buhay-trabaho. Para sa akin, landas ng tunay na propesyunal na ipagpatuloy ang hiwaga ng kanyang karera at bigyang buhay at halaga ito sa lahat ng nasa labas ng kanyang propesyon.

Ang propesyunal ay siyang may mabuting maidudulot— hindi pagkabagot, kundi tunay na liwanag sa pagsisilbi sa nakararami. Ika ni Tswang Tsu, “Ang dakilang katha ng isang tao ay matutuklasan sa kanyang mismong buhay.” Hindi ang nalaman natin mula sa mga libro ang mahalaga. Hindi ang ID o papeles na matatanggap natin maya-maya ang mahalaga. Hindi ang anumang magiging titulo natin. Hindi ang papuri, parangal o sweldong sasapit. Pinagkataman ito. Tayo at ang magagawa natin ngayon ang may halaga.

Hayaan ninyo akong magtapos sa akda ng isa sa mga paborito kong manunula, si Rainer Maria Rilke. Wika ni Rilke sa Aleman sa kanyang tulang Initiale,

Aus unendlichen Sehnsüchten steigen

endliche Taten wie schwache Fontänen,
die sich zeitig und zitternd neigen.
Aber, die sich uns sonst verschweigen,
unsere fröhlichen kräfte—zeigen
sich in diesen tanzenden Tränen.


Sa mahusay na salin ni Douglas Johnson,

Initial.

Out of infinite longings rise
Finite deeds like weak fountains
That arc, timely and trembling.
Yet that which is otherwise silent,
Our joyous strengths—become

Apparent in these dancing tears.

Ngayon ay bagong simula, at alam nating walang humpay ang ating mga nais pang maabot. Haharap pa tayo sa maraming sakit at hindi natin magagawa ang lahat, subalit may magagawa tayo. Sa pagtubo natin bilang propesyunal, nawa’y maging tunay na liwanag tayo para sa iba.

Ito ang panahon ng paggawa.