In Part 1 we wrote of how the National Artist for Dance Francisca Reyes Aquino initiated the task of committing Philippine folk dances to written codification in the 1920s as part of an effort to demonstrate the worthiness of the country to be granted independence because it posses a rich culture worthy of standing up to any country in the world. Then we said that pantomina as the quintessential Bikol regional dance had been performed by Catanduanganons according to their own versions since time immemorial. We pointed out that paramount to performing folk dance is the socio-cultural context. We then argued that the Pantomina Catanduanes started to consolidate as part of the establishment of Catandunganon identity after our insular homeland was granted independent provincehood in 1945.
In this Part 2, we dwell at length on the Padadyaw sa Tinampo the original provincial festival. It is the culmination of efforts to enshrine Pantomina Catanduanes as cultural marker of provincial identity. The very first Padadyaw was staged in 1996 for the golden jubilee of provincehood, observed under the administration of the late Gov. Severo Alcantara. It was too when the very first week-long Catandungan Festival was held. The term Padyaw sa Tinampo was coined by Dr. Estrella S. Placides who was a cultural worker advocating for the preservation and promotion of Catanduangnon culture.
In the Padadyaw, the pantomina took on another performative context, which is as a cultural show-off for a great mass of audience, quite removed from the typical function of particularized social celebrations (weddings, fiestas, etc.). It involved an entire new format which is street-dancing where the performers progressively move through extended spaces. In addition, it must be spectacle-intensive because it was competitive. In short, pntomina had to be reinvented for the new context. While they used the same Tang Tolin Arcilla music, the different contingents from the municipalities brought in their own local choreographies. The chairperson of the board of judges in 1996 was National Artist for Dance Ramon Obusan, himself a Bikolano from Camarines Norte. I distinctly remember him telling us local advocates that what we should be looking for in the performances were the unique touches of both the individual dancers and the respective teams. He was particularly enamoured by a male dancer from Viga, who appeared to be drunk, and called attention to his quaint antics. Obusan brought his own videographer who recorded the performances on the lookout for that unique Catandungnanon folk rhythm and bodily indayog.
Through the subsequent implementations of the Padadyaw, notions of a Pantomina Catanduanes shaped up. It should be something that would be easily recognized as uniquely Catandunganon in character. It should have a minimum of basic structure; it can’t be too flexible as to allow anything. In short, it was one that begged standardization, something that we can get hold of with certainty. In the light of those discussions, Dr. Estrella Placides ventured into a research that will take consideration of as many versions from all over the island, draw out the commonalities and inscribe them into a consolidated provincial version. That was done under the auspices of the newly established Center for Catandungan Heritage, Inc. (CCHI). She recruited Ms. Chatita Lorenzana for the job of committing the final output into standard dance notational description. They intended to present it to the annual folk dance conference sponsored by the Philippine Folk Dance Society so that it can eventually be included in the next volume of the Philippine Folk Dance series of books. At that time, there were only two pantomina variants in the books: the original one from Albay and another from Sorsogon. Somehow, it did not materialzed as planned. But the notation became the basis for subsequent mountings for the Padadyaw sa Tinampo.
For almost three decades now, the Placides-Lorenzana notation had been the basic material that guided Padayaw stagings, like its “bible.” But as it is in Christian religions using the same scripture, interpretation makes a lot of difference. It must be said that it is quite true of any performance art based on a textual script, be in play productions, or established dance choreographies, or music. Interpretation by respective artists make significant differences, which is why indeed it is called “art.” Performing the Pantomina Catanduanes is art, even as it is too the reproduction and transmission of tradition and heritage. In any case, it must be a happy concession between creativity and tradition. Which is no easy thing to achieve.
Current stagings of the Padadyaw are quite a long way already from those in the past. The changes had been toward greater levels of elaboration and ostentation. Basically, the purpose is to make it more theatrical and stage-y to call and sustain attention. Firstly in the material spectacle involving costumes and props. There had been a proliferation of bold colors, ruffles, lush flurry of layers of skirts, of flashy accessories. There had been more use of moving decorative sets such as arches, garlands, floral poles or drapes. Then there are the liberties taken in the execution of dance steps. There are more articulations, extensions and display of energy and sensuality. There are even attempts at pseudo-acrobatics in some cases. In terms of structuring of the dance narrative, there is a lot of display of improvisations designed to awe in both the opening salvo and the closing tableau. These changes are what sustain interest in the audience year in and year out, and supply the dynamism of the tradition. But it is also the source of a lot of complaints from purists and keen observers, especially from the venerable pioneers, some of whom have gone over to the great divide (Dr. Placides, Efren Sorra).
It used to be that the people in the know gave orientation lectures to the municipal enablers before they begin putting together their entries. The resource person/s talked of the cultural framework of the pantomina and gave tips on how to balance creativity and tradition.
A year ago, it was my turn to give the same talk. Not being a purist, I lean towards granting more leeway for interpretation and creativity. Here were the main points of my orientation talk:
- The basis for interpretation is not “standard” or “correctness” but “authenticity.” The interpreter has the responsibility to imbibe the social and cultural context of the dance as performed folk in the specific settings and purposes. The pantomina is a dated tradition performed in the rural areas within the cultural milieu of an agricultural society. It is reflective of the values of such setting. In Catanduanes these values are: simple idyllic fun; socializing and creativity of a hardy people; wholesome love and courtship; community; display of one’s métier. But overarching all these is a regulating modesty. While the pantomina is a display of exuberance, it must be bounded by the limits of modesty. It’s calculated bravura.
- At wag gaya-gaya. Catanduanes po ito, di dapat magmukhang Cebu or Bacolod or Mexico.
- There is a basic and minimum of structure of the choreography and dance narrative. Respect it but by all means employ imagination.
- Respect the over-all sensibility and spirit of the dance. Do not go too far so as to violate that sensibility.
Magherilingan kita sa masunod na Padadyaw sa Tinampo!