(Tan-ok 2014 critique [2nd of a series])
It
was the fourth edition of the Tan-ok ni
Ilocano Festival of Festivals, now considered as the biggest gathering of
Ilocanos, having drawn almost 50,000 in the Marcos Stadium last Nov. 29 at the
Marcos Stadium. Celebrating greatness in most creative forms, the show featured
once more performances from each of the 21 municipalities and two cities of
Ilocos Norte.
Tan-ok, arguably the most
anticipated event organized by the province, has steadily led to a state of
maturity, taking small steps since its debut in 2011. Without blinking an
eye, I’d say that last instalment was the best ever. There were a lot of
breakthroughs—not just steps but strides towards even greater planes for this
phenomenon. Let me, dear karikna,
detail my observations through this series of critical notes.
Truthful, clear stories
“Your stories are your wealth,” the judges posited during the
debriefing meeting held the day after the competition. They expressed amazement
over the clarity and richness of the narratives they saw unfold in most performances.
Unlike the street-dance based festivals in the Visayas like the Sinulog and Dinagyang, the strength of Ilocano presentations indeed lies on our
people’s tales.
Personally, I am glad that
the stories presented this year were not only entertaining, but more truthful.
Indeed, as confessed by Edna Vida Froilan, one of the country’s dance icons,
who sat as one of seven Tan-ok judges coming from diverse backgrounds, judges
are like “babies” who don’t know or know very little about the culture of the
locality. They thus evaluate performances based only on what they see. The
burden of determining authenticity, therefore, are not on their shoulders.
It was wise of the festival
organizers headed by creative director Aian Raquel to hold a story conference
prior to the big event. I am happy (and humbled) to have been invited to share
my thoughts to choreographers and key people involved in drafting the
storylines of every contingent. I would usually just write critiques after the
show, just like this one. Interacting with our local artists early on was a
welcome experience because it allowed me to talk more on the future, and ramble
less about the past. During the conference, I already had a feeling that this year’s
Tan-ok will be very different. That feeling was right, and it was very evident
in the Laoag performance.
'Charing' no more
I have always criticized
Laoag for promoting lies and for creating confusion about the Pamulinawen
Festival in particular and our people at large. I know that not a few egos have
been hurt. My commentary strongly condemning the portrayal of Ilocanos as cock-fighters
in last year’s Mini Tan-ok, and eventually at the nationwide Aliwan Fiesta, no
doubt was the last straw for some people.
Christian Espiritu, Laoag’s
multi-awarded choreographer, must have somehow felt bad about my commentary.
Since then, I observed his discomfort each time we chanced at each other in
events, and it was unfortunate because, truth is, I really have very high
admiration for this maverick of an artist who steered Laoag City to the
national championship in Showtime, and in the Tan-ok showdown in 2012 and 2013.
Until a very pleasant
surprise caught in me one afternoon. Christian sent me a Facebook message requesting
for a meeting. He said he fully agreed with my points on truthfulness and
authenticity in presenting the Ilocano story, and that my help is needed in
preparing the storyline for Laoag’s performance this year. “Yes, of course,” I
told him.
During the meeting at Johnny
Moon, Christian came prepared. He had done research and was determined to do
away with the Pamulinawen love stories they wowed the audience with in the past
years. He admitted that the narratives in those love stories neither had strong
cultural nor historical basis, and that they wanted to tell a real story of our
people this time. He also shared about the difficulty of interpreting the
Pamulinawen, given its lack of historical roots like other more established
festivals in the country, and how authentic Ilocano dancing does not fit in the
Aliwan Fiesta format.
I basically just listened to
him and said, “That’s right, sir” each time he asked me, “Is this true, sir?”
The story is about the birth of the city (El Nacimiento de Una Ciudad),
starting from the time the Spaniards arrived and observed the transformation of
a thickly forested area into a clear and bright place (Nalawag!) to the building of a new city, to its rebuilding after a
devastating earthquake, and to its current stature as a hub of progress in this
part of the country. Laoag City’s identity as Sunshine City is interpreted on
various levels.
A Christian genius
When Christian told me about his historical inclinations,
there was only one thing that I asked him about, and that is whether such
account of events could be entertaining on stage. Christian was strongly
convinced about his yes. It also helps, he shared, that the main dancers will
be kids—cute, talented, and refreshing. While it may be a little difficult to
teach them, given their playfulness, and considering as well that the little
ones cannot stay up too late, unlike older dancers who can practice up to past
midnight, Christian was very positive that everything will turn out great.
Fast forward to the Tan-ok
big night. Laoag’s performance was notably a champion material the moment
Laoag’s small ones stepped onstage and delivered big time. Props and set were
grand but did not overshadow the performers. Above all, the story was as clear
as sunshine. We now all know about the results. The Christian
Espiritu-choreographed Laoag performance won first place. Another contingent
under his care, Nueva Era, ranked third.
Christian Espiritu is a real
genius. And our kids are lucky to learn from him in a magical way true stories
of Laoagueños they can proudly bequeath to the next generations of
Ilocanos that will come after them. Pamulinawen is looked at no longer as a
lady with a heart of stone but the embodiment of all the good qualities of
Ilocanos: piety, resilience, hard work, and solidarity, among them.
I waited for a long time for
an opportunity to say I am very proud of my city’s act in the Tan-ok festival.
I am glad that day came on November 29’s starry night.
(Next in this series: Batac a genius, not loser)
herdylayumul.com
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