DANCE ORIGIN:Philippines GENRE:Traditional ARTISTIC DIRECTOR:Eric Espartinez Solano First Appearance in SF EDF:
2009 Website: www.parangaldance.org
Founded in 2008, Parangal Dance Company is a Bay Area Filipino folk dance company under the leadership of Eric Espartinez Solano. The group gives tribute to Philippine heritage by preserving and promoting ethnic attire, music, and dance. Through research, workshops, and performances, Parangal proudly connects Filipino Americans to their roots, while educating diverse communities to an awareness and appreciation of Philippine culture.
TITLE:Subanen DANCE ORIGIN:Lapuyan, Zamboanga, and Mindanao CHOREOGRAPHERS:Noel Asiatico, Ramon Obusan, Eric Espartinez Solano DANCE SOURCES: Noel Asiatico, Alleluia Panis of Kularts, Gauden Sireg of Subanen Cultural Master and NCCA Cludter Head of Subanen, National Commission for Culture and the Arts, Ramon Obusan Folkloric Group COSTUME DESIGN: Carlo Ebeo and Anabel Ramos-Lopez PROPS: Marlon Dumlao, Armando Gazo, Romeo and Cristina Gonzalez, Major Julian, Gilbert Laylay, Ritchel Gazo, Gauden Sireg DANCERS: June Arellano, Hazel Benigno, Vanessa Brake, Kimberly Buhay, Marissa Cruz, Wilford Vince Cruz, Hazel Belga Dela Cruz, Mark Diao, Marlon Dumlao, Karina Fantillo-Cruz, Ritchel Gazo, Emelita Hernandez-Bravo, Ali Ignacio, Major Julian, Gilbert Laylay, Michael Macayan, Dominika Maglasang, Jeff Mancilla, Rachel Perey, Kimberly Requesto, Ophelia Nombrado Sampang, Paul Silverio, Jet Tagle, Renalyn Tan, Andrew Tiña, Dio-Ann Valmores MUSICIANS: James Bartolomé (babandil and karatong), Josefina Buencamino-Malabuyo (durugan), Armando Gazo (agung), Dominika Maglasang (durugan), RJ Payomo (agung), Paul Silverio (babandil and durugan), Eric Espartinez Solano (tambul)
The island of Mindanao in the Philippines is home to over fifty indigenous or non-Islamic groups collectively called Lumad. The largest of these groups is the Subanen (People of the River) from Lapuyan, Zamboanga Del Sur. Parangal presents dances from the Subanen, in this order:
Ritual—Daga-salangsang: The community gathers and places nipa leaves in a circle to ward off bad spirits. An offering of boiled egg, betel nut chew, and cooked rice are placed on a tapi. Chicken blood is placed in an antique bowl and the Balian taps on it to summon beneficial spirits. The sipping of pangasi, rice wine, ends the ceremony.
Sohten: A dance of male strength and stoicism, calling the deities with the sounds from dlasag (shields) adorned with balasi (small shells) and saliringan leaves. Gongs and drums sound. Women play syncopation on besalen or bowls representing Subanen’s trade with China.
Dumadel: A dance of bountiful harvest.
Thalek: A celebration after a ritual or bountiful harvest, danced to establishgood will in the community and to invite and receive blessings: performed with saliringan leaves and taming scythes, clashing bamboo, and rhythmic agung.
Shelayan & Khinlesung: The elderly Balian teaches the Shelayan rite to the younger generation: healing the sick under moonlight. The swinging sinalimba represents a mythic vessel used for journey; a dancer needs considerable skill to board it.
The traditional music includes the agung—a single brass gong, the durugan—a hollowed log drum; and a tambul or drum.
Subanen was created in 2010. Eric Solano choreographed the ritual dance, Thalek, and the finale, Shelayan & Khinlesung. Sohten is by Philippine National Artist Ramon Obusan. Dumadel is by Noel Asiatico.
Title: Pag-Alintabo ni Manama Choreographer: Eric Espartinez Solano Co-Choreographers: Karina Fantillo-Cruz, Emelita Hernandez-Bravo, Renalyn Tan Salazar Dance Resources: Alleluia Panis of Kularts, Basilidas Pilapil Jr., Bai Liza Saway (Talaandig); Ramon Obusan Folkloric Group (Bagobo); Gloria "Dulit" Emag, John Christian Jardin, Narino Matias Maniapao, Ama Ruperto Emag (Tagbanua) Dancers: June Arellano (lead), Hazel Benigno (lead), Vanessa Brake, Kimberly Buhay, Julius Claros (master), Aethel Cruz, Angela Cruz, Marissa Cruz, Gretchen Cube Lactao, Mark Diao, Marlon Dumlao (master), Alan Evangelista, Karina Fantillo-Cruz, Karl Gavero, Emelita Hernandez-Bravo, Gilbert Laylay, Ali Lazaga Ignacio, Maricris Macabeo, Mary Jo Malabuyo, Melisa Mayeda, Mark Ophelia, Chad Ortega, Rachel Perey, Chielo Playda, Klyden Roca, Ritchel Tan Gazo (master), Renalyn Tan Salazar, Nombrado Sampang, Andrew C. Siy, Jet Tagle, Andrew Tiña, Christyn Tiu, Shelly Tomas Camisa Musicians: Josefina Buencamino-Malabuyo (babandil/kulintang/agung), Armando Gazo (agung), Major Julian (kulintang/kubing), RJ Payomo (kulintang/parintak), Paul Silverio (agung/babandil), Eric Espartinez Solano (dabakan/gimbal)
The Philippine islands of Palawan and Mindanao contain over fifty indigenous non-Islamic communities, collectively called Lumad. The connection between the Lumad and the spirit world is a kind of perpetual parabola, with gifts given and returned. A babaylan or shaman, usually female, acts as healer, protector, seer, and the bridge between worlds.
Pag-alintabo ni Manama means"the blazing radiance of the gods." The ritual dance, chant, and trance elements of this performance bring wisdom and spiritual transcendence to the Philippine indigenous people in six people:
Panendan Ta Wahig is performed in the late afternoon beside a river. The Talaandig reconnect and reconcile with river spirits, in gratitude for blessings they've received.
In Dugso, a Talaandig babaylan helps women entertain deities. She keeps the fire burning, as smoke carries prayers to the gods. Headdresses are made of feathers, twigs, beads, yarn, and coins; zigzag dresses remind women they are children of the colorful pagpayok bird; and singgil bells are music to the spirits' ears.
Sugod Uno is a Bagobo prayer for choosing fertile fields. The field is selected, the men dig holes with talapak poles, women place grains of rice, and then the dancers celebrate. The music is played on agung drum, and on unique Bagobo tangunggo gongs hung on bamboo frames.
Pagdidiwata ("imploring the aid of the supernatural") is a Tagbuana dance to mend warring factions. The babaylan becomes possessed and whisks coconut leaves to drive away harmful spirits.
In Tarek, the babaylan hears the closing drum and babandil gong. As the community celebrates, she performs a ritual to prevent illness.
Kalooban is the final thanksgiving for the harvest.
TITLE: Madal Genre: Lumad—Bagobo, T’boli, B’laan, and Mandaya Choreographers: June Arellano (Makatod), Julius Claros (Madal),
Ritchel Gazo (Madal), Eric Solano Original
Choreography: Bayanihan Philippine Dance Company (Madal Blelah,
Blit-B'laan, Makatod), Ramon Obusan (Madal Taho, Lawin-Lawin), Parangal
Dance Company (Madal Intro, Finale) Dance Masters: Julius Claros, Marlon Dumlao,
Ritchel Gazo, Gilbert Laylay, Jet Tagle Dance Consultant: Karina Fantillo Dancers: Millet Alcanices, Rey Amado Arcilla,
June Arellano, Hazel Benigno, Julius Claros, Marissa Cruz, Mark
Diao, Marlon Dumlao, Karl Gavero, Ritchel Gazo, AliIgnacio,
Hebert Jamir, Gilbert Laylay, Maricris Macabeo-Ong, Melisa Mayeda, Ron Mendoza,
Klyden Roca, Jet Tagle, Renalyn Tan-Salazar, Andrew Tiña, Shelly Tomas-Camisa Musicians:
Armando Gazo (agung), Major Julian (kulintang, gabang), Jojo B. Malabuyo
(agung), Eric Solano (dabakan)
From Mindanao Island
in the Philippines, Parangal
Dance Company presents narrative bird dances, as they are performed in Lumad
festivities. Lumad means
"indigenous"—it is the collective name used by eighteen non-Islamic
ethno-linguistic groups. The Lumad are about a fifth of the country's
population: some live a modern Filipino lifestyle, and others live in remote forests, lowlands, and coastal areas. Their dances
remain deeply rooted in place; agricultural rites, marriage ceremonies, and
tribal gatherings are celebrated with dance, and the choreography shows a close
attention to nature.
Madal is in six parts:
Madal Preludeis a world
premiere, inspired by Lumad dances.
Lawin-Lawin is a Bagobo rite-of-passage dance performed
by sons of the datu, or chieftan. The
dance shows the maturation of an eagle (lawin)
from egg to adulthood. As the eagle battles with strong mountain winds, he
eventually finds his strength.
Madal Taho/Madal Blelah is a T'boli dance portraying a mythical bird
whose feathers contain the colors of all known birds. Note the beauty and
careful dress of T'boli
women—embroidered tops, tubular lewek skirts,
hilot girdles, and hair in well-kept
Blit-B'laan is a courtship dance
of the B'laan, imitating birds during
mating season. The females scurry away, burying their heads under their wings,
and the males enjoy the chase. The B'laan
women wear elaborate blouses, necklaces, anklets, tiny bells, aromatic
roots, and flowers. The men wear equally ornate jackets over tight-fitting
a rite of passage from the Davao Mandayan,
a young prince is born high by courtiers. The Mandaya dress uses distinctive block designs, line patterns,
rickrack, and scrolls.
Madal Final, also a world premiere, is an original piece that affirms the community’s unity and distinct
Lumad instruments pace the dancers: the agung,
bamboo, gabang, and dabakan pace the first five pieces. In
the last piece, the kulintang (eight graduated, small gongs)provides the melody and