Marinduque Rising

A TEATRO BALANGAW LOOKBACK, 2008

2025-03-23T07:03:00.001+08:00

SI JOHN ARCILLA ANG KRISTO

With international Filipino actor JOHN ARCILLA playing KRISTO in a Marinduque Holy Week play, local artist Patrick Sadiwa does his make-up..

The mounting of the annual Black Saturday evening stage presentation of the "Sinakulo-Pugutan" in Gasan in 2008. was handled by the public high schools in the municipality. It was to be the turn of Tiguion National High in that year.

Until teachers reported to the mayor that someone had given the order for the school not to participate in this year's municipal sponsored activities. Their hands were tied. The participation of the 'DepEd family' in Gasan was eventually missed in all of the cultural activities.

"Ang Kristo" which Teatro Balangaw had earlier staged was therefore mounted in Gasan to fill this artificial vacuum.

John Arcilla

"It is for a very personal reason that i accepted your surprise invitation to play Jeaus Christ...just tell me how you want my role done", Arcilla said.

"Let me see your interpretation first", I just answered.

I chuckled after seeing it. He looked curious. "Is it OK Direk? Or shall I change it?", the actor asked.

Sabi ko, "Hindi ako sumulat ng bagong Passion Play to see and hear the same Kristo we always see and hear in Senakulos",.

"Then I could make him speak naturally, make him become very angry, show a rebellious Christ when needed!", was the answer.

"'Yun nga. Perfect!", sabi ko lang. And the rest was history.

On Stage

In her very direct speech before the play was presented, Mayor Vicky Lim stated that "Pugutan" just did not have the chance this year in view of what transpired.

The late Governor Carrion was more emphatic: "I will not allow politics, not anywhere in Marinduque's six municipalities, to mess up with efforts for culture and the arts and tourism!"

Culture being 'dynamic not static' and not exclusive to a few as defined in Philippine statutes, and the same being an accurate reflection of the society in point, the Gasan case is a classic example of the tug-of-war between politics and culture in the Philippines. The emcee, Enrico San Juan pointed this out before the start of the play.

ARCILLA AND THE CAST RECEIVED A STANDING OVATION FROM THE GASAN AUDIENCE AND THE REGIONAL MEDIA GROUP THAT CAME TO WATCH!

(to be continued)

TEATRO BALANGAW TRIVIA

2025-03-22T18:15:00.001+08:00

Imagination is the beginning of creation. You imagine what you desire, you will what you imagine and at last you create what you will. - George Bernard Shaw

TEATRO BALANGAW TRIVIA

2025-03-21T18:18:00.004+08:00

The project I missed most wth

J.E. SISON AS 'KRISTO"

"Superb!" "Fantastic!" "Excellent!" "The single most unforgettable performance by an actor I have seen on stage!" These were words overheard from the audience after J.E. SISON (John Emmanuel Sison), played the role as Jesus Christ in the Tagalog "ANG KRISTO: PASYON-DULA".

Performed before a mammoth audience at Buenavista Covered Court in Marinduque April 13, 2006. The play lasted four hours, (including a brief speech from Mayor Madrigal, a 4 minute overture, a 7 minute intermission and a prolonged curtain call). From the very first scene to the last (and there were about 38 scenes), the audience applauded heartily every time the lights went out.

When the lights dimmed after the curtain call the lead actor released a loud cry, "YEEEEEESSS!" with hands outstretched as co-actors mobbed him and ladies in the audience with their cameras took shots while Sison still wrapped in his Jesus costume.

Sison, then, upon the bidding of the play's director, addressed the Teatro Balangaw ensemble of 70 strong and gave a stirring speech about the wonders of theater and acting stressing out that the "one you saw acting there was not me!" "I just prayed, and it seemed to me that something... a force, whatever, seemed to have taken over me when the curtain rose and I just followed it!", he said.

i believe that. I had only one day to rehearse him, though I have sent him 3 weeks earlier by email his entire script for memorization.

When he arrived in Buenavista from Manila for that singular and final, there were just the two of us on stage.The rest of the cast were just below the stage watching intently.

And as I gave the instructions for the most major of all roles, J.E. was completely glued to me listening and walking where he shoud be. When the big night came I had the biggest shock of my life. J.E. Sison did everything so perfectly - reacting with all the actors as if they've been doing it so many times before.

"So now I know the purpose why I decided to grow my hair long!" The actor had no inkling that he would be invited on short notice (three weeks), to act as "Kristo", in a play that deliberately shunned ideas to call it a "sinakulo", for it was not.

The lady mayor of Buenavista, Mayor Ofelia S. Madrigal, was, to use her own words "overwhelmed" by the success of the lenten play that plans are afoot to really make it Buenavista's annual acting and tourism showcase. Who knows? At Balangaw things like that happen. Ask the ex-actors and ex-directors to share their Balangaw experiences and how it opened doors to their peace... or madness!

(J.E. Sison is a product of an ABS-CBN national talent search, has appeared as lead star in the movie "Bikini Idol" that earned him a Star Awards nomination as best actor).

TEATRO BALANGAW MARINDUQUE, Act Twelve, 2006

2025-03-18T23:59:00.001+08:00

"ANG KRISTO: PASYON-DULA", BUENAVISTA, MARINDUQUE ABRIL 12 & 13, 2006

MGA TALA NG MANUNULAT AT DIREKTOR TUNGKOL SA DULA:

‘SINAKULO’
“Sinakulo” ang tawag sa alin mang pang-Mahal na Araw na dula tungkol sa kalbaryo ng Panginoong HesuKristo. Karaniwang sinisimulan ito sa Banal na Hapunan (“senakulo” ang turing sa silid na pinagdausan ng ‘Huling Hapunan’ ni HesuKristo at mga apostoles ayon sa ‘Pasyong Mahal’) at natatapos sa ‘Pagkabuhay Muli’.
Tila laging bantulot naman ang mga kritiko ng sining na ihanay sa tinataguriang lehitimong teatro ang ‘Sinakulo’ tulad ng noo’y ‘Zarzuela’ at ‘Moro-moro’ at modernong teatro ngayon dahil diumano sa ‘kapayakan’ ng mga ito. Ibang pamamaraan at pamantayang estetiko raw ang ginagamit sa mga ito na higit na umaasa sa mga ‘payak’ na personal o pinaghalong interpretasyon ng mga gumaganap bilang tauhan at mga namamahala ng ‘Sinakulo’.

Naroong makita natin, halimbawa, na para makilala ng mga manonood si San Pedro ay kailangang may dala itong panabong dahil itinatwa nito si Hesus ng tatlong beses bago tumilaok ang manok, sa iba naman ay kailangang may hawak na susi ng lanngit.

Bagama’t ang lihim na pag-iibigan nina Claudia at Longhino tulad ng sa ilang lugar ay hindi maaring sabihing ‘payak’ kung ang basehan ay kaisipan ng sumulat nito na inimport pa nga naman. At lalong hindi masasabing ‘payak’ kung libo-libong piso (o milyon-milyong piso kaya), ang ginagasta para sa pagpapatayo ng palasyo ni Pontio Pilato na ang disenyo ay tipong Disneyland o ‘Camelot’. Subalit ‘Sinakulo’ pa rin ang mapuwersang turing ng lahat sa mga ito. At ‘senakulistas’ naman ang tawag ng mga gumaganap sa kanilang sarili, gayundin ang tawag ng mga manonood..

“ANG KRISTO: PASYON-DULA”
Ano’t ano man iyon, nagkaroon ng pagkakataong mabuo ang “ANG KRISTO: PASYON-DULA” sa bayan ng Buenavista, Marinduque ngayong taong 2006.

Sa mga kadahilanang nabanggit na, hindi nga ito ‘Sinakulo’. ‘Passion Plays’ ang tawag sa Ingles sa mga dulang naglalarawan sa buhay at pasakit ni HesuKristo, mula sa Oberammergau (Alemanya), hanggang sa Estados Unidos na kung saan ito itinatanghal at dinarayo upang panoorin. Kaya’t bago ito tawaging ‘Sinakulo’ ay maiging idikit na ng maaga ang salitang “Pasyon-Dula” sa titulo ng “ANG KRISTO”. Nang may kasimplehan o ‘kapayakan’. Ang tawag sa kabuuhan ng gawain mula pag-iisip, pananaliksik, pag-eensayo, hanggang sa pagtatanghal ay simple rin: Pasyon-Dulaan.

Ang kaibahan nga lamang, upang higit na maunawaan ng mga manonood ng pasyon-dulang ito kung saan nagmula ang mga pangyayaring naging kadahilanan sa pagpako sa Krus at pagkamatay ng Panginoong HesuKristo, na hindi maaaring makita kung ang dula ay sisimulan sa Huling Hapunan, kinailangang simulan ang kuwento mula sa pagbautismo kay Hesus ni Juan Bautista at ipakita ang mga mahahalagang pangyayari ayon sa kuwento ng buhay Niya mula ng panahong iyon.

Ang mga mahahalagang pangyayaring ito ang binigyang buhay sa unang bahagi ng dula. Kaya’t ang ikalawang bahagi ay magsisimula naman sa pagsalubong sa Kanya sa Herusalem.
Kinailangan ang masusing pananaliksik.

Ginamit ang ‘Magandang Balita Biblia’, King James Version ng Biblia, ‘Kasaysayan ni Longhino’ (Eli Obligacion, dulang itinanghal sa Gasan, Marinduque 1997),’Gospel of Luke’ (Catholic Pastoral Edition), ‘The Lost Teachings of Jesus’ (Summit Univ. Press),’The Story of Redemption’(Ellen White), ’Pasion ni Hesukristo’ (Mariano Pilapil), ‘The Life of St. Longinus’ (Caxton’s English Text), ‘Detached Account of Longinus (Emmerich), ‘Detached Account of Abenadar’ (Emmerich), Internet search finds tungkol kay Claudia Procula, Longinus, Pontius Pilate.
Pinanggalingan din ng ilang materyal ang mga pelikulang “The Passion of the Christ”, “Jesus Christ Superstar”, ”Jesus of Nazareth”, “Jesus”. Ang mga teksto sa iskrip na may kaukulang marka ay direkta o halos direktang hinango sa ‘Magandang Balita Biblia’.

PAGBUBUO AT DIWA NG BOLUNTERISMO
Natapos ang unang balangkas ng iskrip noong Pebrero 24, 2006. Nagsimulang mamili ng mga magsisiganap sa dula noong Marso 4, 2006, at sinimulan kaagad ang pag-eensayo bagama’t wala pang kaliwanagan kung paano magkakalap o saan manggagaling ang pondong gagastusin sa ganito kalaking produksiyon. (Higit sa 60 ang kailangang magsisiganap). Subali’t tulad ng paulit-ulit naming sinasabi sa mga artistang tumugon sa panawagan, ang ano mang mabuting bagay o magandang panaginip ay hindi mawawalan ng tagasuporta at lahat ay matutugunan – kung may pananampalataya sila sa buti ng kanilang ginagawa.
Sumaklolo na nga ang Pamahalaang Bayan ng Buenavista sa pangunguna ni Mayor Madrigal at kanyang mabubuting mga kaibigan. Gayundin ang mga kaibigan ng Balangaw. Sumuporta ang mga magulang ng mga kabataang kasali (mga mag-aaral at mga out-of-school youths), na nakaunawa na maaaring gabihin sa pag-uwi ang kanilang mga anak sa pag-eensayo. Nagbigay ng suportang moral ang DepEd sa pagsali ng ilang mga guro.
Ang lahat ng may kinalaman sa pagbuo ng dula ay maagang tinanggap sa kanilang sarili na ang pangyayaring ito ay sinasalihan ng bawa’t isa sa Diwa ng Bolunterismo at hangad na maging bahagi ng pagpapayabong ng sining at kultura (o pag-unlad ng turismo man), sa magandang Buenavista. At sa pagsasagawa nito ay maging bahagi ng paghugis ng modernong pangkulturang kasaysayan ng kanilang stariling bayan at komunidad. Iyon lamang!

TAMPOK NA MGA TAGPO
Bangungot ng isang mandudula na sumulat ng isang drama na di naman maiisagawa sa ibat-ibang kadahilanan, mga limitasyon. Subalit depende na nga iyon sa pagkamalikhain ninuman. Sa kaso ng “Ang Kristo”, base sa ipinamalas na kakayahan ng mga artistang gumaganap ay nadagdagan pa ang unang balangkas nito at sa huli ay naisakatuparan ang mga sumusunod na eksena sa loob ng limang linggong pag-eensayo:

UNANG YUGTO “MESIYAS”
1. PAGBAUTISMO KAY JESUS
2. PANUNUKSO NI SATANAS
3. PROKLAMASYON NG MISYON NI HESUS SA NAZARETH
4. MGA PANGARAL NI JESUS / PAGPAPAGALING
5. SI MARIA MAGDALENA
6. SA TANIMAN NG MAIS / ISYU NG SABADO
7. JUAN BAUTISTA IPINABILANGGO!
8. BEELZEBUL
9. BABAENG NAHULI SA PAKIKIAPID
10. “MALAKAS ANG DATING NG JESUS NA ITO!” (MGA KRITIKO)
11. PAGPILI SA LABINDALAWA / BEATITUDES
12. GALIT ANG DIYABLO
13. BABAENG MAKASALANAN SA BAHAY NG PARISEO
14. TRANSFIGURATION
15. ANG TAONG GRASA
16. BUKAS AT WALANG TAKOT NA PAHAYAG NI HESUS
17. SENTIMYENTO NG MGA APOSTOLES
18. SI LAZARO
19. HERODES (DECADENCE)

IKALAWANG YUGTO “KRISTO”
1. MGA KETONGIN
2. PAGPASOK SA JERUSALEM
3. ANG GALIT NA KRISTO
4. KRISTO / MAGDALENA/ APOSTOLES
5. PAGHUHUGAS NG MGA PAA / BANAL NA HAPUNAN
6. GETHSEMANE AT PAGDAKIP KAY KRISTO
7. SANHEDRIN (CAIPHAS, ANNAS, ESCRIBAS, PARISEOS, JUDAS
8. SA HARAP NI PILATO / PAGKAMATAY NI JUDAS
9. HERODES
10. PAGBALIK KAY PILATO
11. PAGHAGUPIT / PAGLIBAK / BARABAS /PAGHUGAS KAMAY
12. PANAGINIP NI CLAUDIA PROCULA
13. PAGTATALO NI PILATO AT CLAUDIA
14. VIA CRUCIS HANGGANG SA PAGLIBING (At mga Piling Salita ni HESUKRISTO) - Pagkadapa; mga kababaihang nanangis; mga Apostol; Maria (Ina), Magdalena, Juan, Veronica, Simon ng Cyrene, kilos ng mga Pariseos, mga Kawal, mga mamamayan, Pagpako, Pagkamatay, Libing.
15. PATOTOO NI LONGHINO / HIMAGSIK NG BUDHI NI PILATO
16. ANG PAGKABUHAY NA MULI NI KRISTO/
PAGPAPAKITA NI KRISTO SA MGA APOSTOLES

PRODUKSIYON
Minabuting period costumes ang idisenyo na sinaliksik ni Ian Sotto ng Escolta. Mga katutubong materyales at disenyo naman para sa props at entablado na dinisenyo ni Alvin Ereso ng Caigangan. May karanasan siya sa ganitong gawain sa mga pang-komersiyal na tanghalan sa Maynila. Si Bobby Labay ng Pinggan ang nagplano ng pang-ilaw na disenyo dahil naging lightsman naman siya sa CCP noong araw. May kaalaman din siya sa paggawa ng fog machine na dry ice ang gamit para sa ilang eksena.
Ang karamihan sa nagsiganap ay sa kabayanan ng Buenavista nakatira. Ang ilan nama’y mga taga Caigangan, Bancoro, Bagtingon, Malbog, Libas, Yook, Antipolo at Lipata. Ang ilan ay hatid ni Ian pag-uwi sa kanyang tricycle.
Wala sa orihinal na plano ang mag-anyaya ng mga panauhing artista (dulaan o pelikula), subalit nabuksan ang pagkakataong makasalamuha naman ng mga kabataang artista ang isa sa kanilang mga hinahangaan na kahaliling gaganap bilang Kristo.

PANANALIG
Sa huli, maliwanag na ang “ANG KRISTO: PASYON-DULA “ ay isang buhay na patotoo na “anuman ang hingin natin sa panalangin, manalig tayong natanggap na natin iyon at matatanggap nga natin!” (Mc 11:24). Amen!

TEATRO BALANGAW TRIVIA

2025-03-18T08:35:00.005+08:00

Ang salitang Balangaw na ang ibig sabihin ay Bahaghari ay aking kinalakihang salita gamit sa hinterlands ng Marinduque.

Pagdating sa kabayanan nalaman ko na lamang na ni hindi nila barinig iyon.

TEATRO BALANGAW MARINDUQUE, ACT TWELVE, 2005

2025-03-17T10:14:00.006+08:00

2005 : QUO VADIS BALANGAW?

There is a notion that community theaters are “where people's most base elements thrive: egos exalted, fed, stroked, and patted; jealousies run rampant; tantrums tolerated and considered part of the culture; where strangers come together--for nothing profitable, nothing useful, nothing tangible or lasting, for nothing more than such stuff as dreams are made of--all because of some unnamable desire to imagine themselves into other people's stories and relate those stories to others.” (Cohen, 2001)

But Balangaw never was a place for that. Here, egos are deflated before they attempt to reach the skies; jealousies discouraged; tantrums are never tolerated as they are considered not part of the culture; where strangers come and are told that they have a responsibility to change the situations around them that make their lives miserable; that they can effect positive changes in society, but that it starts with them; that we have come together to prove to the community that not all have accepted their fate as slaves or serfs in such a feudalistic island; that we have a responsibility to those who will come after us and those after them and must strive to cease the wanton destruction of our environment; that the vain desire to just imagine themselves into other people’s stories is not art but just an illusion; that our work is nothing if it does not serve a greater social purpose.

At Balangaw no one has sought recognition for his/her work except a few – those who continue to harbor blind, grandiose, illusory thoughts of epical greatness about themselves - who turn up at moments of victory to seize and steal the moment from those who have labored - hard against many odds - for their art, their creation

Aba ah anong haba noon. Resulta ng katotohanang wala kang napala, at wala kang kadala-dala sa pagteteatro mo.

Nasaan na yung mga kasamahan mo dati? Sina Danny Mandia, Dindo Asuncion, Peng Recalde Rudy Mariposque, Benjie Montenegro!

Hindi nawala kailanman si Benjie at si Rudy, salamat sa Diyos! Nandiyan pa rin basta't makakatulong sila. Kahit nasa Kamaynilaan sila at ako nama'y nasa dulo ng Marinduque, ay ayos lang.

May mga bagong kahalili yung nawala. Si Selo Salvacion ng Gasan ay ilang taon ding nagpakahirap sa Teatro. Gayun din si Ian Sotto at Joseph Ogalinola - ng walang kapalit, wala talaga kundi Kaligayahan.

(to be continued)

TEATRO BALANGAW MARINDUQUE, ACT ELEVEN, 2007

2025-03-16T13:10:00.002+08:00

THE VERY FIRST-EVER "ARAW NG MARINDUQUE" - 2008

It was on February 2008, when the very first Araw ng Marinduque celebration was held. For the love of Marinduque.

The idea of celebrating Marinduque’s founding anniversary in fitting ceremonies province-wide with activities showcasing its traditional arts & culture, history, products and uniqueness as a province, in the same vein that all municipalities, provinces and cities in the Philippines mark their own anniversaries, was proposed by this blogger in late November 2007, in his capacity as consultant for tourism and cultural affairs of to the provincial government.

The said proposal was warmly supported by the Sangguniang Panlalawigan’s Committee on Tourism chaired by the late board member Yolando Querubin.

Knowing that the funds of the provincial government for such activities were limited at that time, I had the opportunity to discuss the possibility of obtaining a grant from the National Commission for Culture and the Arts with the late NCCA Commissioner Elmer B. Ingles while attending a seminar in Vigan earlier in the same month of November. Ingles was enthusiastic about the idea of supporting a joint PHILIPPINE ARTS FESTIVAL (PAF) and “ARAW NG MARINDUQUE” celebration, both occurring in the month of February (now National Arts Month).

On my way back to Marinduque from Vigan I already got a phone call from a NCCA culture and arts officer, apparently directed by the commissioner asking me to immediately fax my proposal that should strictly follow the official guidelines for the Philippine Arts Festival grants. But it had to be done right away as the deadline for submission was already on the following day.

I complied with that and soon after came the response for the inclusion of Marinduque in the national arts festival project. A Memorandum of Agreement between the Provincial Government of Marinduque and the NCCA was eventually signed, witnessed by the Provincial Accountant with the Provincial Treasurer issuing a certificate on which official bank account the NCCA funds should be transferred to.

PAF-ARAW NG MARINDUQUE COMMITTEE
A committee tasked to map out plans for the celebration was immediately created. This was composed of representatives of the Provincial Planning and Development Office, the Provincial Tourism Office, the Office of the Governor, Sangguniang Panlalawigan, the Department of Trade and Industry, the Department of Education, the Provincial Engineering Office and the six municipalities of Boac, Buenavista, Gasan, Mogpog, Torrijos and Sta. Cruz.

“VIVA MARINDUQUE” was adopted as the project title of “ANI NG SINING IN MARINDUQUE: PHILIPPINE ARTS FESTIVAL 2008”, and in line with NCCA objectives - to celebrate the Filipinos artistic creations; to promote the Filipino creativity, specifically of local and indigenous talents, through various forms of artistic expressions; to provide a venue for broader participation in creative activities; to drumbeat “Araw ng Marinduque” as a new avenue for cultural-tourism promotion and development in the province.

It also aimed to raise the level of cultural awareness among local artists and the community, in general, and is expected to pave the way for the honing of local talents, as well as strengthening their network among other artists, cultural workers and arts enthusiasts within and beyond the island-province.

It was also seen as a rare opportunity to raise the level of local and national awareness on Marinduque’s rich cultural heritage.

The “Viva” project was held as an interactive and collaborative project with the NCCA, all the local municipalities, participating schools, cultural organizations, performers and participating groups. This showcase was then presented in all the six municipalities, simultaneous with the arts festivals in Luzon, Visayas and Mindanao.

VENUES
Available public spaces were utilized, namely, covered courts, gyms or open spaces, specifically Boac Covered Court, Mogpog Covered Court, Sta. Cruz Gym, Open Court in Torrijos, Open Public Park in Buenavista and Municipal Tennis Court in Gasan.

The February rains posed a problem as there were days when it rained the whole day on scheduled dates. In Sta. Cruz the original venue had to be changed from the Sta. Cruz Open Court to the Gym two hours before the show. In Torrijos, Buenavista and Gasan, the venues of which had open spaces the rains stopped as if on cue. In all the venues and scheduled dates the programs started at exactly 7:31pm).

The cast dressed up all the venues with backdrops, curtains, mobile platforms designed for the purpose, and additional plants and designs where needed. The municipal governments provided monobloc chairs for the use of town officials, visitors and guess. The general public used bleachers or watched standing on top of parked jeepneys or trucks. A technical crew that travelled with the group was responsible for installation of lights and sound requirements.

Cast dressing up

“Moryonan” – dance drama on Marinduque’s famous Lenten tradition;
“Bulong” – dance-drama on teleportation/entry into another dimension, a belief still popular in far-flung areas;
“Labanan sa Pulang Lupa” – dance-drama with original song on the “Battle of Pulang Lupa” with choral rendition by the Marinduque Provincial Capitol Choir; Mini-feature on one of the U.N. Millenium Development Goals, poverty alleviation (an NCCA requirement);

BALANGAW CAST relaxing the morning after Viva Marinduque

“Kalutang” played by the Pangkat Kalutang group of Gasan;“Harana”, local songs of courtship;

Well known director Frank Rivera was also invited to conduct a workshop for the dance-drama cast and the participating cultural groups. Altogether, the “Viva Marinduque” artistic and production staff were composed of 100 persons. During the performance in Buenavista, Mayor Ofelia Madrigal requested that some dancers who took part in their municipal showcase be also included in the Viva repertoire to perform some of the local dances, increasing the number of participants to 120.

Mogpog's "Battle of Bintakay"

Mogpog came up as contribution with “Battle of Bintakay”, performed by DepEd teachers, about the revolutionary struggle in Mogpog during the Filipino-Spanish war. The story was presented from the point of view of Olympia Manuba, the local Gabriela Silang. The play also incorporated local dances, songs and cultural practices, and underscored the capacity of women to be so empowered as to join the fight for Inang Bayan.

In Boac, DepEd teachers presented a local folk dance; In Sta. Cruz the municipal choir rendered various local songs with an elderly veteran of “Harana” songs dishing out a few songs. In Buenavista, selected students from Buenavista National High School performed three local dances, including “Banderitas de Libas”, said to be a native dance that was eventually included in the Viva presentations. “Harana” songs complete with a movable ‘bahay kubo’ was likewise performed as part of the municipal contribution.

Torrijos' "Inalimango"

In Torrijos, DepEd teachers danced “Inalimango” as well as other lesser known folk dances. As most of the Viva performers were from Gasan including the Kalutang musicians, the municipal government helped in the technical aspects of the production from rehearsals, providing additional mobile platforms when necessary, providing additional meals and snacks to the cast and appointing a municipal staff as coordinator for all Gasan performers throughout the duration of the project (January-February).

Responsibility for lights and sound, production design, costumes and props, transportation, accommodation, meals and snacks, streamers and documentation were variously assumed by the provincial government and participating sponsors.

THE OTHER “ARAW NG MARINDUQUE” FESTIVITIES

“Viva Marinduque” was the most visible of all the Philippine Arts Festival-Araw ng Marinduque celebration because of its province-wide presence. There were other activities undertaken, however, to mark the event.

Among them: “Barakalan at Turismo” (Trade, Tourism and Food Fair) a cooperative endeavor among the six municipalities of Marinduque, the Department of Trade and Industry and the provincial government. The exhibition site (Boac Covered Court), served as a big bazaar of quality Marinduque trade and tourism products and served as tourist information center as a whole. (Feb. 16-21, 2008)

“Quiz-Bee & Oratorical Contests” organized by the Department of Education, the Quiz-Bee on Marinduque’s culture and history, as well as the Oratorical Contest were undertaken for high school students in public and private schools. The latter’s theme was “Marinduque: Alab ng Puso ng Pilipinas”. DepEd took care of the responsibility for the guidelines and mechanics of the contests. Held at the Boac Covered Court. (Feb. 18, 2008)

“Harana”. As Marinduque is known to be one of the few remaining localities in the country where the traditional “Harana”, local serenade, is being practiced, or where the old songs remain popular to oldtimers, all municipalities showcased their versions of Harana to generate new interest in this tradition. Held at Sta. Cruz Municipal Court (Feb. 18, 2008).

National historians included Dr. Emmanuel F. Calairo, president of National Historical Association and Dr. Augusto V. De Viana, chief history researcher, National Historical Institute

and the a collaborative effort with the national government offices/agencies and other organizations..."

The resolution stated that "despite the limited time and budget", the event "exuded the province's unique culture, customs and traditions which were hailed by most of those who witnessed the various activities and presentations".

The huge success of the Viva Marinduque project could be gleaned from the welcome decision of the NCCA for singular inclusion of Marinduque three (3) years in a row in the Commission's annual Philippine Arts Festival projects, and to prioritize cultural development in this island-province.

Full text of said SP Resolution adopted on motion of board member Eleuterio "Bong" Raza, Jr. follows. In a strong show of support and solidarity with all those involved in the project, said Resolution was "unanimously seconded" by all the members of the provincial council, and therefore may be described as unprecedented:

Republic of the Philippines444
PROVINCE OF MARINDUQUE
Boac

OFFICE OF THE SANGGUNIANG PANLALAWIGAN

EXCERPT FROM THE MINUTES
5th SPECIAL SESSION, 11th SANGGUNIANG PANLALAWIGAN
SUPREME COURT COMPOUND, BAGUIO CITY
FEBRUARY 24, 2008

Resolution No. 264 series 2008

RESOLUTION

COMMENDING ALL INDIVIDUALS, OFFICES, AGENCIES AND ORGANIZATIONS WHO CONTRIBUTED TO THE SUCCESS OF THE CELEBRATION OF THE “ARAW NG MARINDUQUE”

WHEREAS, the recent celebration of the “Araw ng Marinduque”, the founding anniversary of the province, had exuded the province’s unique culture, customs and traditions which were hailed by most of those who witnessed the various activities and presentations relative to the same;
WHEREAS, despite the limited time and budget of the provincial government and the six municipalities, it did not constrain them from organizing a committee that made the event a success and even strengthened a collaborative effort with the national government offices/agencies and other organizations that led to such an achievement;
WHEREAS, the Sangguniang Panlalawigan is truly grateful to all individuals and/or organizations who in one way or another, and through their efforts, have contributed to the success of such an endeavour;
WHEREFORE, on motion of Hon. Eleuterio R. Raza, Jr. unanimously seconded, it was:
RESOLVED, as it is hereby resolved, to commend all individuals, offices/agencies and organizations who contributed to the success of the celebration of the “Araw ng Marinduque”.

RESOLVED, finally, that copy of this resolution be furnished the following for their information, to wit:
1. Provincial Governor
2. Provincial Administrator
3. Executive Assistant to the Governor
4. Mayor and SB of the 6 Municipalities
5. Organizing Committee through the Consultant for Tourism Affairs
6. Department of Education
7. Department of Trade and Industry
8. Marinduque State College and all School Participants
9. National Commission for Culture & the Arts
10. National Historical Commission
11. Department of Tourism
12. Sponsors, Donors, Guests, Others.

ADOPTED, this 24th day of February 2008 at Baguio City.
CERTIFIED CORRECT:
(Signed)
NIMFA M. CABRERA,Secretary, SP

ATTESTED:

(Signed)
TOMAS N. PIZARRO

VICE-GOVERNOR

TEATRO BALANGAW MARINDUQUE, ACT TEN, 2003-04

2025-03-15T17:50:00.006+08:00

2003-04

OH, BUENAVISTA

Moving on to Buenavista as part of his personal outreach program as a cultural worker, Obligacion organized “TEATRO MALINDUG” for students of Marinduque Victorian’s College and some out-of-school youth. The Buevavista audience was also entertained by “MARA UNDUK' in January 2003, and by Lent (April) “SUKAT IPAG-ALAB NG DAMDAMIN” a new dance drama was also successfully premiered. But this meant I had to stay for several months in beautiful Buenavista.

A remounting of “BULONG” was also done to an enthralled audience in connection with the

school’s foundation anniversary in February 2004.

An advocacy paper “MIMAROPA SUNRISE” with emphasis on cultural promotion and development and environmental awareness was edited by Obligacion during this period when he had no work.

But publishers eventually had to reckon with political pressure that no paper normally survives in Marinduque, and even one church-based monthly paper eventually had to fold up, giving up the publication after only six issues.

(to be continued)

TEATRO BALANGAW MARINDUQUE, ACT NINE, 2001-02

2025-03-15T09:15:00.005+08:00

Act Nine, 2001-02 "BULONG"

AND MOVING ON TO GASAN

Local elections again swept the country in 2001. Newly elected mayor Vicky Lao-Lim of Gasan hired Obligacion who was out of work as her “culture and tourism secretary” (a casual position in the mayor’s office). The Gasan Culture & Arts Foundation (GASCUAF), also headed by the mayor was preparing for a new festival to be held on Easter Sunday. As consultant "GASANG-GASANG FESTIVAL” the name Obligacion had originally proposed to be the name of another festival for August ’02 in connection with the 1st Araw ng Gasan celebration was adopted as the official name of the Easter event.

A new theater group was formed by Obligacion for Gasan: ‘TEATRO GASENO’ based in Bangbang National High School. As there was a clamor for such a dance drama. “BULONG” was succesfully premiered with a standing ovation on August 18, 2002 at the still open court beside the municipal office.

Noted local artist, Raymond C. Go, volunteered to paint the background mural used for the play, a major task and he also did the set design.

“Bulong” was later presented again for visiting tourists as part of ‘Lakbay Aral” tour and for a Christmas presentation in the same town. The lady mayor who was into the arts herself ensured sufficient funds for the project resulting in a “glossy” production that even the NBN-4 TV-crew raved about the dance-drama.

Immediately after watching the dance-drama on premiere night, Jan Engels, a Dutch national who has made Gasan his second home, expressed his desire to donate PHP 100,000 half of which should go to the school (Bangbang National High School and half to the Gasan Culture & Arts Foundation to support their culture and arts projects. It was done.

"I never thought it was possible to come up with something like this in Marinduque!", said Engels. The next day he treated the entire cast and production staff, to a whole-day mountain resort picnic at his tropical paradise.

Throwback on Bulong (boo'-long) Marinduque folklore

A compilation of Marinduque's folklores was published in 1914, annotated by Henry Otley Beyer, an American anthropologist and professor at U.P. He spent most of his adult life teaching Philippine indigenous culture and became known as the Father of Philippine Anthropology.

Beyer's compilation of Marinduque folklores included stories on folk beliefs and cultural practices that prevailed on the island. It was our inspiration for the staging of "Bulong". Pronounced boo'-long (not bu-long' the Tagalog word for 'whisper'). Bulong is defined as the collective name of spirits that transport humans bodily into another place or dimension. Often on this island, old folks have endless stories to tell about them based on personal experiences.

In 2002, this blogger upon request of the mayor of Gasan for assistance in conceptualizing their first "Araw ng Gasan" celebration thought of staging a dance-drama titled 'Bulong' among other events. Belief in the spirit world and ancestral worship was of course, the order of the day when Gasan was 'discovered' by the Spaniards centuries before introduction of Christianity.

"Bulong", written and directed by this blogger was thus a re-shaping of those traditional stories, presenting bits and pieces of historical data to help today's generation get inspired and to perhaps serve as a vehicle for reflection by those who dwell on this stuff. It has since been presented in all of Marinduque's six municipalities as part of an NCCA-PGM project.

'BULONG' SYNOPSIS:

Teen-aged Salve, catching 'bilabila' (butterflies) finds herself in a half-awake, half dream state and sees strange creatures, the elemental spirits, around her and is at once taken to another world. That's the world of spirits and strange creatures we've all heard about on this island. There she's also brought to a door that leads to the island's prehistory.

Salve encounters 'patianacs' (a kind of scary crow), asuangs, tikbalangs, swaying bamboo trees, duwendes, enkantos.. The elemental Bulong spirits take her to the enkanto until a tug-of-war between the menacing asuangs and friendly spirits ensue, thus saving Salve. The enkantada (known as 'white lady' too), enters and since Salve is a mortal decides to take the girl to the world of those who were once mortals, the world of Salve's ancestors. Here the Katalona of "Mara Unduk" fame is seen still wielding power. Salve becomes witness to the romance and tragedy of the Alon-Baylana-Kidlat (Katutubos), love triangle and its tragic end. She also gets to see the island's Pastores anito for the first time.

Salve sees how intruders from other shores supplanted a new set of beliefs to those of her ancestors by the power of the sword and the cross. As the ancient people cry in protest Salve begins to understand why she was taken there. The elemental spirits free her at last, their mission accomplished.

But the enkanto, so smitten with Salve, gets in the way. He connives with the asuangs and ugly characters for her capture. With no one to save her except herself Salve uses the folk formula to set herself free at last from her new abductors.

(to be continued)

TEATRO BALANGAW MARINDUQUE, Act Eight, 1997

2025-03-14T21:35:00.001+08:00

Act Eight, 1997

NEW CHALLENGES RISING.

TAKING THE 'WORLD'!

BALANGAW VIDEO & BOOK PROJECT WITH PETA AND IDEA (NETHERLANDS)

In May 1997 the Philippine Educational Theater Association (PETA’s), contacted Balangaw. PETA is the biggest theater institution in the country with over two decades of experience in developing acting techniques for community-based theater and had produced the biggest names in Philippine theater, movie and television.

Balangaw members underwent training under PETA’s basic integrated theater arts workshop (BITAW) program for five days, culminating in the presentation of “PUTIK SA KARAMIHAN, GINTO SA IILAN”. The project that involved interviews with the Balangaw cast and some of their parents were documented on film by Oceanic Films for showing in European cable-TV under the title “Swapping Stories”.

Facilitators were Ernie Cloma, Dessa Quesada, (both of PETA), and Obligacion.

A book entitled “COMMUNITY THEATER: GLOBAL PERSPECTIVES” by Eugene van Erven (Netherlands), a renowned expert on community theater, was later published. It detailed a case study made on Balangaw (for Philippines) in 1997, together with individual stories of community theaters from five other countries namely Kenya, Australia, Netherlands, U.S., and Costa Rica.

Chapter 1 of the book is devoted on ‘Philippine Community Theater in the 90s and a Case Study on Teatro Balangaw Marinduque

On page 49 of the book, van Erven wrote:

"After the show, Ernie (Cloma) takes the microphone to tell the audience that the play they have seen is the result of a five-day workshop with members of Teatro Balangaw and artist-teachers from PETA and that they dedicate the performance to the people of Marinduque. Melo Miciano, Harold's and Hajun's father, tells me he is proud of his sons and expresses the hope that they will perform the play in other Marinduque communities as well. Several unidentified local environmental activists comment that they equally enjoyed it and that they noticed that a lot of the factual information in the play was new to the audience:

Many people from Boac town have never been up to the barrio. They know about it, generally, but don't seem to care. Looking around me I also noticed how people tuned in to the entertainment elements in the show, but turned off during the more serious parts. But this kind of theater is good; it will draw people's attention, like fish to a bait".

(to be continued)

TEATRO BALANGAW MARINDUQUE, Act Seven, 1997-1998

2025-03-14T11:22:00.001+08:00

Act Seven

'TAKING' THE REGION

It must be recalled that in those years there is no MIMAROPA yet but the group of 11 provinces is known as Southern Tagalog Region.

The Marinduque Office of the Department of Education, Culture & Sports (DECS), approached Obligacion to handle the provincial drama entry to the regional competition on culture & the arts. A revised version of “Mis Lagrimas A Ti”, now retitled “HIMAGSIK NG BUDHI” was brought to San Jose, Batangas for the competition with some 25 actors from MNHS and ICC. Virtusio was tapped to direct the play by Obligacion.

In the end it was awarded 2nd runner-up. But the champion in ALL the competitions in culture & arts was Batangas.

Meanwhile, the Philippine Independent Church (PIC), in Gasan in cooperation with the municipal government was to handle the “Pugutan” presentation in 1997. The mayor approached Obligacion for assistance in terms of provincial funding and the conduct of the activities. He introduced Virtusio to the mayor and the parish priest recommending him to direct their Holy Week play. PIC commissioned Obligacion to write a new play on the Passion of Christ and the involvement of Longinus. Apparently the Celso Carunungan script introduced in the 70s had been altered many times by whoever organized the annual “Pugutan” and now considered incoherent.

On condition that the “Pugutan” play would not take the place of the Easter Sunday street festival observed in Gasan as was the experience in Boac, Obligacion agreed to write it, in consultation with Fr. Arevalo of PIC who provided some literature. “SA NGALAN NG KATOTOHANAN" (changed to “KASAYSAYAN NI LONGHINO”, without authorization from this playwright), was finished by end of January 1997 in time for the start of rehearsals the following month.

Curiously, however, the play’s programme drafted by the director was an insult to the playwright (another no-no).

Why? The name of the priest in his capacity as “Katulong sa Produksyon” (Production Assistant), and that of the director in huge letters occupied a wide space on top of the printed page. In small letters somewhere under the names and positions of the production and technical staff was the following entry: “Dialogues by: Eli Obligacion”, referring to the playwright.

A couple of years later the same script, now corrupted, would be presented several times elsewhere in Marinduque by a new playwright: Virtusio.

By this time, the Department of Agrarian Reform (DAR) then sponsored a national competition on theater arts for the promotion of the government’s land reform program. For the regional competition Obligacion accepted the challenge to write and direct a new play based on a storyline provided by DAR and adopted to the local situation. Students of Cawit National High School who were mostly children of farmers and fishermen were the choice as players. They were given a new identity as “BALANGAI PEOPLE’S THEATER”. “ARKO”, Marinduque’s entry was awarded 2nd runner-up (again) in the competition participated in by the region’s eleven (11) provinces. It was held at Imus, Cavite.

It was DAR's turn to cover the expenses.

The winning play was presented in Boac upon the invitation of the municipal government for the celebration of the 3rd anniversary of the Marcopper mining disaster, and for the municipality’s Philippine centennial celebration at the Boac riverside arena.

(to be continued

TEATRO BALANGAW MARINDUQUE - Act Six, 1995 - 1998

2025-03-13T10:15:00.006+08:00

1995-98 KUNG SAAN-SAAN NA PO NAPUNTA

Provincial competitions in culture and the arts (on-the-spot painting, choral competitions, sabayang bigkasan, essay-writing, folk and modern dance competitions, kundiman contests, band and lyre competitions), were initiated by Obligacion as official projects, new festivals organized and traditional ones were revitalized (“Tubungan Festival, “Kalutangan”, “Moryonan”, “Moro Moro” in Mogpog, “Pugutan” in Gasan, “Freedom Run”).

Provincial participation in regional and national cultural events were ensured (“Southern Tagalog Festival”, “Travelmart”, “Rizal Park Independence Day Celebration”) - all of these were participated in by Marinduque province. It also played host to Southern Tagalog Kundiman Fiesta” and the Daupan Ii Festival for the Centennial of Philippine Revolution, held in Gasan.

Balangaw’s “Mara Unduk” dance-drama was kept alive and constantly improved with new dancers and actors joining the ever-changing faces of chorus dancers.

The Philippine Rural Reconstruction Movement (PRRM) commissioned Obligacion for a play about local heroes to be presented at the DAUPAN II Festival for the Centennial of Philippine Revolution. “MIS LAGRIMAS A TI” (My Tears to Thee), based on the revolutionary exploits of Herminigildo Flores, Remigio Medina, Cayetano Vida (“Alapaap”, and Maximo Abad, was completed and premiered at Gasan’s covered court. The audience consisted of festival participants from all over the country. Students of Immaculate Conception College (ICC) went through auditions for the various roles. PETA’s Jonjon Tuazon directed the play.

At the Southern Tagalog Kundiman Fiesta (ICC, BOAC), presented was Mara Unduk

At the Daupan II Festival for the Centennial of Philippine Revolution. (Gasan), Mara Unduk also enthralled the audience from all over the country.

In 1997 the actors and

singers of Balangaw contributed their talents for the Pulang Lupa celebration

(a reenactment of the battle).

(to be continued)

TEATRO BALANGAW MARINDUQUE - Act Five, 1995 - 1996

2025-03-12T15:04:00.010+08:00

1995 - 1996 NEW MARA UNDUK HAD 30 PERFORMANCES!!

After watching a performance at Travelmart (SM Manila), of Iloilo’s Dagyaw” and a dance-drama performed by the Leyte Dance Company group of Jess de Paz, Obligacion and Mariposque agreed that it was not impossible at all for Balangaw to come up with a similar winner

“Mara Unduk” could be presented with fresh ideas so that the group was ready with a material it could bring anywhere outside Marinduque, right?

It was evident, however, that the group could not take any chance with another “hoy, tama na ‘yan!” novelty.

The verbal exchange that eventually happened was between the founder of Balangaw and Mandia this time. The latter strongly opposed the idea of staging a new Mara Unduk though he was preoccupied with work in Manila and couldn't do it..

After a long, heated discussion that lasted from night till morning it was setttled. They were long-time friends yet the standing rule must now be upheld: “Nobody is indispensable in theater”.

“Who is going to direct it? Who is going to choreograph it?”, Mandia asked.

“I am in charge. They will be found!”

A Mara Unduk performance at Boac Town Plaza

Roni Abario of Or. Mindoro, a stage actor who also worked as dubbing supervisor at ABS-CBN like Mandia was welcomed by Eli and Rudi to the Balangaw home.

“Tinanong ako ni Danny kung paano ko gagawin ang mga sayaw ng Mara Unduk. Nakita ko ang video nung ginawa niya na hindi ko maintindihan. Ang sabi ko lang, ‘basta mas maganda diyan’!” Roni said.

"MARA UNDUK” became Balangaw’s biggest winner in those days. This collaborative work among Abario, Mariposque and Obligacion was good for over 30 performances in Boac and Gasan. Within one year, invitational performances at Nayong Pilipino, Museong Pambata Finally, Raha Sulaiman Theater for the Philippine Educational Theater Association's National Youth Theater Festival became the happiest performances of

Mara Unduk.

That's a lot of work. No one gets paid for his or her work at sila pa pong lahat ang gumagastos sa lahat ng needs. Maraming nagbibigay ng makakaya nila to which we are all grateful for.

Sa totoo lang!

(to be continued)

TEATRO BALANGAW MARINDUQUE, Act Four, 1995

2025-03-11T20:43:00.004+08:00

GUEST DIRECTOR INVITED

In March 1995, Gil Virtusio who hailed from Batangas but he had joined the ‘93 “Moryonan” production as an actor came to Bahaghari unexpectedly. He thought that with a few weeks to Ash Wednesday, Balangaw was in the middle of a new “Moryonan” play.

“But you did not present anything for Holy Week last year!”, he argued, “and this would be the second year in a row now...”

“Are you willing to direct a play this time?”, Eli asked.

“You write a new script!”, was Gil's daring answer.

“Who will be our actors? School’s over! Many are vacationing in Manila. And we have no money!”, that was Rudy.

“Let’s go to town!”, Eli proposed. (The available cast would surelybe there.

“MORYONAN: IKALAWANG YUGTO” was being written by Obligacion page by page while daily rehearsals were going on. The students, mostly living at the town center were only too happy to join since school was over. It was clear that the project would be an exercise in ‘focus and determination’. for us.

No money for costumes, meals and snacks, lights and sound. Even the venue was a problem. The covered court was blocked for political speeches. The election campaign period had commenced.

But old costumes could still be used, there could be some supporters and friends who could provide snacks, bamboo torches, lots of them, could be used in place of stage lights, a dried up circular fountain in front of the Rizal monument (opposite the covered court), measuring four (4) meters in diameter - and the area around it - could serve as the acting area. Theatre in the round!

At dress-tech, the bamboo torches were extinguished by the summer wind one after another, voices were completely drowned out by the blaring political speeches from right across. In just 10 minutes all the torches were out, the final rehearsal went on illuminated only by street lights and the moon. At the end of the rehearsal the actors were completely quiet staring at the floor. They were ready to uphold the “show must go on” tradition in theater but only if they could be seen by the audience.

“Yes, we will find a way. We will have lights and sound by tomorrow!”, Obligacion said with muffled voice.

Michael Seno who was acting as campaign leader for Bong Carrion accidentally passed by and came to the rescue. The mobile system they used for the campaign was available the next day and he would only be too happy to allow us to use it, gratis. Rico Sanchez offered to also provide soft drinks and snacks for the cast.

RECORD TIME

The play was done in record 10 days from the writing of its script to premiere night. “MORYONAN: IKALAWANG YUGTO” was the first production of Balangaw that had a re-run in Boac, brought to Gasan and Mogpog before a jampacked audience. For these free shows support came in for coverage of lights and sound, transportation, meals and snacks. The costumes and props improved. Mostly students from Immaculate Conception College and a few studying in Manila who had returned for vacation were among the cast.

Gil’s two Filipino friends from “Migrante” in Hongkong came to lend a hand in the production of the Boac re-run.

Mandia who was pre-occupied in Manila with his own affairs came, protested the assignment of Virtusio as guest director, during a visit, argued that he had the right to stop the performances as “artistic director of Balangaw” finding imagined defects in a play that had been premiered successfully and shown in two towns outside Boac. The “I am the God of theater in Marinduque” and “I am the Messiah” lines were thickening the Bahaghari air (my place) this time. Quotes like that are, of course, a dime a dozen in this country but really, it was just all about who was the better director between the two.

“Him with his stage managing and masteral degree that he has yet to earn, and me with my experiences and all the books I’ve read, yes, let us have a debate on theater directing!”, a forceful Virtusio argued.

But it was not hard to see who between the two would pass off as the better director, one who knew his art better and religiously practiced the basic: understanding the material at hand.

As ‘hermano’ again for the Lupac barangay fiesta on June 1, Mandia and Montenegro had a talk in Manila. The latter wanted “IKALAWANG YUGTO” presented in Lupac to entertain the community on the eve of fiesta with Mandia as director this time. The company director /playwright acquiesced. With the exception of a couple of actors who had acted in “Ikalawa…”, the new group trained by Virtusio were utilized for the now-controversial play.

So much for that.

(to be continued)

TEATRO BALANGAW MARINDUQUE - Act Three

2025-03-11T16:41:00.001+08:00

Benjie as hermano also introduced the first boat race in Lupac in 19994, together with Sto. Nino de Pescador as Patron Saint.

Christmas 1993 and Holy Week 1994 came to pass, the group slumbered. In May Montenegro as ‘hermano’ in Lupac proposed a play production. Mandia came with ready scripts by ‘anonymous’ authors of two fairly well-known comedy plays popular in city schools: “Manggagahasa Kami sa Isang Linggo”, and “Bakit Babae ang Naghuhugas ng Pinggan”. Stage actors/dubbers of cartoon programs who worked with Mandia arrived with him to act out the roles for the first play. The second was to be performed by selected local talents.

“Manggagahasa..” was a total disaster. The classic “Hoy! Tama na ‘Yan” (Hey! enough of that!") polluted the air again, the audience made no effort to hide their disinterest, such that the actors were too embarrassed to take center stage for the final bow. The second comedy with characters that looked like they came straight from comic books managed to elicite laughter from the slapstick comedy. A good ‘workshop’ exercise. But then we are supposed as a general rule to present only plays with Marinduque content. Nothing more, nothing less.

SADLY, NO MORE ELI PLAYS FOR MANDIA.

It was evident that for some theater practitioners, for as long as a play is presented to an audience, that could already be considered success (“basta naipalabas!”). It had nothing to do with whether or not they understood it. But the rest of Balangaw disagreed with that crazy concept. We had not existed to serve somebody's bloated ego and grand illusions of one being 'god of theater', a phrase off and on repeated before the young talents to establish artistic authority.

Came June, Obligacion proposed to Balangaw trustee, Rudy Mariposque (a.k.a. Rudi Mariposky), to take up the challenge of directing a new play this time whose only aim (to drive home a point) was to draw from the audience “a long and rousing applause”.

The only goal aside from the usual.

The answer:

“Only if no one will claim credit for my artistic directing!”, he demanded. The simple deal was closed

MARIPOSQUE AS ARTISTIC DIRECTOR.

“ISANG ARAW SA HISTORY” (PAYE IN RETROSPECT) by Obligacion came into being. The play had a campus and classroom setting. The main protagonists were high-school students and their teacher in History subject. The students were asked to write individual essays on “What the Battle of Paye Means to Me”. The inconsistencies in certain claims and unlikelihood of such a ‘battle’ occurring in Sitio Paye, Balimbing during the Filipino-American war were each laid bare by the students before their alcoholic History teacher. He was the principal researcher/historian on the subject, and the students just came short of accusing him of ‘historical and journalistic dishonesty’. Musical excerpts from “Labanan sa Paye” the previous year were also utilized to break the scenes.

The covered plaza was surprisingly filled with people who came towatch. Boy and Girl Scouts from all over the province who were encamped at the Paye site were brought by trucks hired by their organizations to watch the play. The receptive audience applauded at every scene. Then, at the curtain call the biggest came like a thunder: “the long, rousing applause!”. So startled was Rudy, the audience wouldn’t stop cheering that he ran to Eli asking: “What are we supposed to do now?”

“Well, you have to say something, probably introduce every single player this time?” The applause was louder when he did. Then the group learned, and everyone involved felt strongly what “critical acclaim” meant - for the very first time!

“Eli, nangyari ‘yung gusto mo!”, an ecstatic Dindo Asuncion who arranged the music and took care of the lights said running to me.

Later the Sangguniang Bayan of Boac had a deliberation on the Paye controversy presented in the play and formed a “fact-finding committee” to ferret out the truth. It, however, seemed natural for such a committee to die a natural death. Politics hahaha!

(To be continued)

Note to Teatro members: I have ran out of photos to include in this 'teleserye'. Baka naman may inatago kayo diyan please.

TEATRO BALANGAW MARINDUQUE Act Two (cont'd) - 1993

2025-03-09T21:24:00.005+08:00

MORYONAN NA!

April 1993, the Balangaw group made its debut in the Boac riverside area on a makeshift stage built for the purpose (provincial authorities refused to allow the use of an existing concrete stage just meters away known as Palacio de Moriones, as it "might be destroyed by the children").

Morion mask from 1972 Philippine Airlines (PAL) magazine cover.

“MORYONAN: ISANG BALIK TANAW” the intended play to be presented only once, also written by Obligacion, and directed by Mandia, was an attempt to trace the evolution of the Moriones from pre-Hispanic rituals to contemporary times. The play was presented (after unsuccessful overtures from certain leaders and politically-inspired groups to prevent it from being shown, something that surprised us, the group). It was merely intended to revive an age-old tradition of staging a street-event at Lent’s culmination.

The play was to be preceded by a moryon mask-and-costume street-parade that the young people - some 500 youth participants and some volunteer old folks who later read excerpts from “Pabasa”. Prizes donated solely by Montenegro were to be given to winning costumes and groups. National papers and television took notice.

Balangaw constructed a makeshift stage nearby as if to make the message that no one has the right to prevent Teatro Balangaw from presenting a youth-oriented fun-play that promotes creativity and unity among participants. In the middle of the noonday heat was a mammoth crowd that came to watch. The Manila Times was there to make their own coverage of this event.

By July 1993 the group was ready with “LABANAN SA PAYE (A MUSICAL), written by Obligacion. The material was based on actual stories and events that revolved around the character of Teofilo Roque, the ‘Battle of Paye’ hero. Fifteen (15) songs were composed (both lyrics and music), by Obligacion in the kundiman, balitaw and contemporary style, with keyboard musical arrangements done by Dindo Asuncion. Performers were from the Marinduque National High School with guest young artists from the Immaculate Conception College. Directed by Mandia and was performed at the Boac Covered Court from 7.00 pm on the day of the battle.

It was to be tbe turning point. The cooperation of the Municipality of Boac was formally obtained but exclusive only to use of the public venues, without funds solicited. A souvenir program with a message from the Mayor was readied by Obligacion with Montenegro agreeing to sponsor its publication.

It was to highlight the municipality’s role in spearheading the Battle of Paye celebration consisting of various activities, the play being only one of them.

In an effort to avoid any further misunderstanding with the municipal authorities, a final draft of the program was readied. The play’s director, who was in Manila where the program was to see print. However, last-minute alterations on the cover-page gave a terribly wrong impression that caused an uproar. It omitted the participation of the municipal government who spearheaded the activities.

Worse, the Balangaw production page was likewise altered that billed the director, as also the scriptwriter.

As a result, the municipality umderstandably did not distribute the hundreds of program copies arriving one day before the presentation. “Mali!”, was the only word they could come up with. Consequently, no one from the municipio came to watch the free show and with the exception of curious passers-by and a few supporters the actors performed in a practically empty hall.

It was the period of reflection and re-examination of conscience by all the Marinduque-based members of the group.

(to be continued)

TEATRO BALANGAW MARINDUQUE, Act One -1992-1993

2025-03-08T21:19:00.006+08:00

Act One: 1992-1993

My old house, new at that time

Prologue

Life was boring in Marinduque in those days. No entertaiment, no nothing except morions come Semana Santa and the familiar putong. But I have decided to live here after years in Manila that by October in1992, TEATRO BALANGAW was founded by Eli Obligacion (yours truly) and a small group of colleagues from Boac, Marinduque who supported the idea that a community theater could be a good venue to promote interest in local culture, showcase the untapped talents of young people and present issues affecting the community.

Two months later, its initial project was presented at the Boac Covered Court for the town fiesta celebration. The home of Obligacion in ‘Bahaghari’, Amoingon beach served as Balangaw’s permanent headquarters, rain or shine or any sort of delubyo.

Act One: 1992-1993

OBLIGACION AS COMPANY DIRECTOR/PLAYWRIGHT;
MANDIA AND MONTENEGRO AS ARTISTIC DIRECTORS.

The first production was a ‘double presentation’ basically sponsored by Benjie Montenegro of Lupac who owned BM Talent Pool, a promotions company based in Manila. BM came in full force with his talents for “PISTAHAN NG SAYAW AT MUSIKA” a dance revue featuring jazz, modern dance, and cabaret with solo numbers performed by notable artists from Manila. Montenegro handled the over-all concept, design and direction of “Pistahan”.

Obligacion’s “MARA UNDUK” (A Dance-Drama), was presented as the ‘local’ project with 52 students of Marinduque National High School. Danilo Mandia of Boton was its director. Improvisational movements were utilized for the play that lasted for 1 ½ hours with non-stop ethnic music (from Muslim to Igorot) as background. Shouts of “hoy, tama na ‘yan!” from the audience, audible even on the video copy is probably its most realistic critique.

But in reality they just wanted to see the Manila show of fabulous costumes with dancers having agood time in the Land of the Rising Sun.The audience also apparently had a hard time understanding what was going on onstage with Mara Unduk which was shown first.

“Wagi! Wagi ako!”, were the words of Mandia of theara Unduk play, “Nailabas!.. "

(“It isn’t art, but I have their attention.” – The Chorus).

My very first musical composition was sung as the play's theme song (by Ian Venida who later ended up among the cast of Miss Saigon on Broadway)

But the old, historical Boac Plaza was filled to capacity alright with folks from all over Boac and never mind the monsoon rain that was expected anyway.

(to be continued)

Marinduque, 1696 (Last Part)

2025-03-08T17:59:00.001+08:00

The caracoa delivers fresh vegetables and fruit, as well as livestock in the form of pigs and chickens. The goods are a gift from the chief magistrate of Albay province.” The Bayanihan spirit came forth so naturally in those years.

“The travellers can barely believe their eyes when they take the floating garden, abundant with fruit and vegetables, aboard their ship.”

It is now over a month since the ship left Manila. But, after a painful beginning, the galleon finally approaches the embocadero – the entry point to the Pacific Ocean…

"To the great relief of all onboard, the galleon enter the open sea through the San Bernardino Strait. A long journey across the Pacific to the Americas lies ahead."

But ferocious storm, illness, cold, famine, deaths, despair and hardships one after the other, punctuated only by seemingly mystical events, are yet to come.

(*Embarking on the galleon San Jose in Manila Bay on June 29, 1696, Giovanni Francesco Gemelli Careri kept a detailed journal of his journey to Mexico. On November 21 he lost “a pair of gold buttons with emeralds” after having “laid a wager that we should see land” by that day. The ship made landfall in January 1697. The crossing was part of his tour of the world by sea and land, begun in 1693 and completed in 1698, his account of which Gemelli Careri published in six volumes in 1699 and 1700 titled A Voyage Around the World.

MARINDUQUE 1696 (Part 2)

2025-03-06T22:01:00.003+08:00

The shore of the island is still described as being characterized by a dense forest even though nearly a hundred years have passed since the people engaged in the building of galleons here.

“Finally, a fresh southerly gale blows in. The galleon weighs anchor and leaves the Marinduque and Banton islands in its wake.”

“The journey through the embocadero of San Bernardino becomes very slow. The galleon has to cast anchor at night because there is insufficient light from the stars for the pilot to manoeuvre through the tangle of islets and reefs."

“At last, the galleon reaches the shores of Ticao island. The crew and passengers become excited when a caracoa approaches.”

(to be continued)

MARINDUQUE, 1696...

2025-03-06T21:16:00.000+08:00

(Part 1 of a series)

A Journey of Dread is a visual narrative that first appeared in the South China Morning Post. It draws inspiration from the eyewitness account of Giovanni Francesco Gemelli Careri*, a 17th-century Italian adventurer who kept a colorful record of his galleon voyage from the Philippines to Acapulco. Just a glimpse is featured here.

This was during the height of the galleon trade, when Marinduque was one of the earliest sites identified in Las Islas Filipinas for the construction of galleons in local shipyards or astilleros.

“The voyage from the Philippine Islands to America, may be called the longest, and most dreadful of any in the world, because of the vast ocean to be crossed…with the wind always ahead, as for the terrible tempests that happen there, one upon the back of another, and for the desperate diseases that seize people in 7 to 8 months, lying at sea sometimes near the line… enough to destroy a man of steel, much more flesh and blood…" - Giovanni Francesco Gemelli Careri, 1698

Bay of Manila, Friday, June 29, 1696

"A galleon destined for Acapulco is jampacked with goods, mostly from Chinese merchants, which are loaded right up until the moment of departure. Onboard, passengers from all over the world eagerly await weighing anchor."

"The galleon sets sail before noon. A parao tows the galleon out of port and will help direct the larger ship to the Pacific Ocean.

In those days, a lack of wind meant a galleon could only have traveled a few nautical miles from where it started the voyage, which is Manila. Any wind that does blow could send them off course. So the vessel could get stuck in the bay for several days.

Then the unfavorable winds will force the crew to tow the galleon for the next three days, and if the winds blow against the ship, they go back to where they started.

Here, for 17 days they navigate the treacherous waters we now call the Verde Island Passage where opposing currents come together that they have only managed to travel about 98 nautical miles.

Then the galleon sails through Tablas Strait right between Marinduque and Mindoro.

“As soon as there is a break in the weather, some crew, and passengers, form a hunting party. They take a sampan to Marinduque island in the hope of finding some deer or buffalo. The hunters can’t find any prey along the shore either and return to the galleon empty-handed. Once on the island, the party can barely make any headway through the dense forest.”

(Part 1 of a series)

Mara Unduk, Marinduque Akin Ka, Boac River Tragedy, Tales of the Ancients,

2025-03-06T13:39:00.001+08:00

Just find it intriguing. I wrote the Mara Unduk story way back in 1992, as the premiere presentation of the community theater, Teatro Balangaw, I founded in this island-province of Marinduque.

It was a retelling of the island's folk history as gathered since I was young, from folk tales, beliefs, practices and mythical history.

With students of Marinduque National High School, the acting workshop piece was shown at the Boac Covered Court during the Town Fiesta. It featured as guest actor the young Jeffrey Santos playing the role of Bathala, and Ian Venida (who later joined the cast of Miss Saigon), who sang my original theme song for the dance-drama, "Marinduque Akin Ka".

Mara Unduk was restaged in 1996 as part of the Easter Sunday program. A week before the event, in the middle of our rehearsals came the infamous Marcopper environmental disaster, caused by irresponsible mining.

Death and destruction was wrought to the historic Boac River.

To this day 33 years later, the people of Marinduque are still crying out justice for the tragedy.

And strangely to this day, but elsewhere online, people are still talking about the story of Mara Unduk.

Asks writer Bob Demaria: "Listen and read the old tales of the ancients who passed them down to us. Modern science knows nothing and is thoroughly ignorant because they’re more intelligent and ancient man was primitive and full of superstitious beliefs."

Mara Unduk two moons. Mayana, Goddess of the Lower Moon and Buwana, Goddess of the Higher Moon

Quora

Bob DeMaria

Answered December 24

No the moon came from outside our solar system. But did come relatively close. You need to listen to the ancients rather modern science that dreams up scenarios that have no reality.

The Mara Unduk tale: The Mara Unduk story

(Another story). The story of Mani the moon from the Prose Edda and the 2 children who traveled with Mani. Their names Hjuki and Bil from which the tale of Jack and Jill are derived. Even that story was once called Jack and Gil two brothers

Which brings me to the ancient Hebrew word “Sencherib” Which means “the moon god Sin replaced the two brothers”

Zulu tale of two brothers who rolled the moon across the heavens.

From Revelations how the old serpent (there is an Arab name for the moon which translates into English as “the old one” A fact the moon is older than earth) Which swept a third of the stars from the heavens and flung them to earth. Carolina Bays impact zone of an estimated half million impacts. A hotly debated topic but a fact.

Listen and read the old tales of the ancients who passed them down to us. Modern science knows nothing and is thoroughly ignorant because they’re more intelligent and ancient man was primitive and full of superstitious beliefs.

Do you have any idea of the devastation the moon caused once it became tidally locked into orbit? Here is one image

Ripped from the earth! Revelations 16:18 Then there came flashes of lightning, rumblings, peals of thunder and a severe earthquake. No earthquake like it has ever occurred since mankind has been on earth, so tremendous was the quake.

Revelations 16:20 Every island fled away and the mountains could not be found. Maybe they really had Vimana’s over 12,000 years ago. Frozen mammoths in Siberia whose only logical explanation was that they were quick frozen after the earth shifted on it’s axis. Nowhere in the Yukon and Siberia can you dig without finding MUCK and BONES

Revelations 12:4 Its tail swept a third of the stars out of the sky and flung them to the earth. The dragon stood in front of the woman who was about to give birth, so that it might devour her child the moment he was born.

The woman is “mother earth” and her son is Sol. The dragon was going to devour her son is a “solar eclipse” Remember three days of darkness and rapidly plummeting temperatures. As described by worshippers of the dawn or of the sun.

Now who and what is this? Remains of two brothers? Don’t know frankly Dust‐cloud moons of the earth

Just thinking Jormungandr is the dragon of Revelations who initiated Ragnarok. Jörmungandr - Wikipedia

Ragnarök - Wikipedia

Thor is Lord Hadad both gods of thunder

Ancient history my boys!!!!!!!!!!!!!!

THE MARA UNDUK STORY

by Eli J. Obligacion (1992)

...common ancestry, chaos and catastrophe, enlightenment

Mayana and Buwana, goddesses from the sky.

In the days of Bathala, when two moons still sailed the sky, the earth was inhabited by highly-gifted spirit-people who lived in harmony with all existence. Such immense powers they possessed, for they controlled the four elements of Fire, Air, Water and Earth.

Mayana angered ( Southern Tagalog Kundiman Fiesta 1996)

Over time, they became too proud to the point that Mayana, the Goddess of the Lower Moon, was angered, smashing her lunar abode onto the earth.

Unang Delubyo (Easter Sunday 1996)

This was known as the first upheaval - that caused an island to spring from the bottom of the the ocean. The few survivors named it Mara Unduk, sea mountain.

Katalona (2004)

The Earth was left under the care of the gentle Goddess of the Higher Moon, Buwana. A new order was established under the rule of the sorcerer, Katalona, who dominated the people's lives. But the survivors who have learned to hunt for food have forgotten who they were or where they came from. They had no notion of their destiny.

Magic (2004)

Strange dreams haunted the people for a long time. Through magical rituals they began to understand those dreams with the help of the spirit-protector, Marindik.

Alon and Baylana.(2004)

Alon, a hunter who served as Katalona's apprentice falls in love with the prettiest maiden, Baylana. The relationship ended in a tragedy for the maiden and for Katalona, he who believed that Alon's mission to chart his people's destiny was loftier that Alon's love for Baylana.

Chaos (1996)

Such lawlessness and disorder descended upon the village that the people lost their sense of hope and direction. Marindik was so displeased that she caused her dwelling on the mountaintop to emit burning rocks, and the heaven to weep.

Deluge (1996)

The villages were submerged in mud and sand, bringing havoc and destruction once again. In the midst of it all, Alon finds union with his primeval past, and emerged in harmony with the elemental spirits and with all existence.

Mystical island of Mara Unduk.

The enlightened Alon becomes whole again as the new Tao -
he who will lead his people to their rightful and glorious place under the sun.

Golden Age of Marinduque?

Not to forget ever. the Marinduque Celadon Jar

2025-02-28T18:38:00.000+08:00

Not to forget ever! The Marinduque Celadon Jar, is a National Cultural Treasure

On February 18, personnel from the National Museum Philippines, Archeology Division carefully wrapped and packed the Marinduque Celadon Jar, which is now already in transit to the National Museum Marinduque-Romblon.

Museum Researcher Mr. Gregg Alfonso Abang removing the Celadon Jar from the showcase

Acquired by the National Museum of the Philippines in 1965, through the then Assistant Director Alfredo Evangelista, the Marinduque Celadon Jar was exhibited at Palayok: The Ceramic Heritage of the Philippines gallery of the National Museum of Anthropology. Fifty-six years later after it was found, this National Cultural Treasure (NTC) will be unveiled to the people of Marinduque on February 21, 2022 as they celebrate the 102nd Founding Anniversary of their hometown.

This rare stoneware is dated to 1279 to 1368 Common Era, during the Yuan Dynasty in China. It features a translucent jade-like green glaze application throughout its body, decorated with four Chinese dragons in embossed relief – a symbol of imperial power, strength, and good fortune in East Asian culture.

In 2010, the Marinduque Celadon Jar was declared a National Cultural Treasure for its outstanding historical, cultural, artistic and/or scientific value which is significant and important to the country and nation.

Staff from the Archaeology Division inspecting the Celadon Jar

Staff from the Archaeology Division placing the Celadon Jar inside the box

NMP Staff from Archaeology Division, GASD, MSD & RCCMD

Welcome Program

On the scheduled unveiling of the NTC at the National Museum in Malusak, Boac on Monday, February 21 at 3:00 pm invited guests were be welcomed by the Pangkat Kalutang Group and Morion Group acting as Honor Guards outside the Museum.

The program starts with a Prayer offered by Rev. Fr. Eulogio Mangui parish priest of the Boac Cathedral followed by messages from NM Director-General Jeremy Barnes, Boac Mayor Armi DC Carrion, Governor Presbitero Velasco, Jr., and House Speaker Lord Allan Q. Velasco.

The Marinduque Celadon Jar will then be unveiled in a special glass display case at the Mezzanine Gallery. The Yuan Dynasty Jar’s homecoming after more than five decades when it was found was initiated by Gov. Velasco in 2019, part of the provincial government's efforts to generate new interest on Marinduque’s rich history and numerous tangible and intangible cultural treasures.

Moriones Festival - high -priced painting from a Botong Francisco collection

2025-02-17T16:28:00.003+08:00

See how much you’d have to shell out for pieces by Philippine National Artists.

Leon Gallery, helmed by its founder and director Jaime Ponce de Leon, held its “Spectacular Mid-Year Auction” last June 11. During the weekend of Independence Day and the announcement of eight new National Artists, the afternoon made records in the Philippines art world.

Botong Francisco’s Moriones Festival (1966)

The event’s highlights include Carlos V. Francisco’s (Botong Francisco) Moriones Festival (1966) painting that sold for P35,040,000. De Leon told ANCx that it’s the third-highest painting sold for a Botong piece at auction.

Victorio Edades‘ Poinsettia Girl

With a one-go bid of P23 million, the Victorio Edades’ painting Poinsettia Girl set a record for Filipino National artists.

Clout Burst by Jose Joya

Sold for: P5,139,200

Lady in Red (Portrait of Mable Reese Robertson) by Fernando Amorsolo

Sold for: P1,168,000

Tryst 83 by Lao Lianben

Sold for: P8,176,000

Mont-Saint-Michel by Oscar Zalameda

Sold for: P1,051,200

Sacred Mountain by Arturo Luz

Sold for: P2,569,600

Flourishing Growth by Ramon Orlina

Sold for: P1,518,400

Dark Plant by Ang Kiukok

Sold for: P1,600,000

Still Life with Rose and Apples by Frederico Aguilar Alcuaz

Sold for: P1,868,800

Dusk Flower by Juvenal Sanso

Sold for: P1,985,600

Different Tunes by Emmanuel Garibay

Sold for: P1,635,200

Images from leon-gallery.com

This article first appeared on Life Style Asia

1948 State of Israel proclaimed - from History.com

2023-10-30T11:06:00.000+08:00

On May 14, 1948, in Tel Aviv, Jewish Agency Chairman David Ben-Gurion proclaims the State of Israel, establishing the first Jewish state in 2,000 years. Ben-Gurion became Israel’s first premier.

In the distance, the rumble of guns could be heard from fighting that broke out between Jews and Arabs immediately following the British army withdrawal earlier that day. Egypt launched an air assault against Israel that evening. Despite a blackout in Tel Aviv—and the expected Arab invasion—Jews celebrated the birth of their new nation, especially after word was received that the United States had recognized the Jewish state. At midnight, the State of Israel officially came into being upon termination of the British mandate in Palestine.

Modern Israel has its origins in the Zionism movement, established in the late 19th century by Jews in the Russian Empire who called for the establishment of a territorial Jewish state after enduring persecution. In 1896, Jewish-Austrian journalist Theodor Herzl published an influential political pamphlet called The Jewish State, which argued that the establishment of a Jewish state was the only way of protecting Jews from anti-Semitism. Herzl became the leader of Zionism, convening the first Zionist Congress in Switzerland in 1897. Ottoman-controlled Palestine, the original home of the Jews, was chosen as the most desirable location for a Jewish state, and Herzl unsuccessfully petitioned the Ottoman government for a charter.

After the failed Russian Revolution of 1905, growing numbers of Eastern European and Russian Jews began to immigrate to Palestine, joining the few thousand Jews who had arrived earlier. The Jewish settlers insisted on the use of Hebrew as their spoken language. With the collapse of the Ottoman Empire during World War I, Britain took over Palestine. In 1917, Britain issued the “Balfour Declaration,” which declared its intent to establish a Jewish homeland in Palestine. Although protested by the Arab states, the Balfour Declaration was included in the British mandate over Palestine, which was authorized by the League of Nations in 1922. Because of Arab opposition to the establishment of any Jewish state in Palestine, British rule continued throughout the 1920s and ’30s.

Beginning in 1929, Arabs and Jews openly fought in Palestine, and Britain attempted to limit Jewish immigration as a means of appeasing the Arabs. As a result of the Holocaust in Europe, many Jews illegally entered Palestine during World War II. Jewish groups employed terrorism against British forces in Palestine, which they thought had betrayed the Zionist cause. At the end of World War II, in 1945, the United States took up the Zionist cause. Britain, unable to find a practical solution, referred the problem to the United Nations, which in November 1947 voted to partition Palestine.

The Jews were to possess more than half of Palestine, although they made up less than half of Palestine’s population. The Palestinian Arabs, aided by volunteers from other countries, fought the Zionist forces, but by May 14, 1948, the Jews had secured full control of their U.N.-allocated share of Palestine and also some Arab territory. On May 14, Britain withdrew with the expiration of its mandate, and the State of Israel was proclaimed. The next day, forces from Egypt, Transjordan, Syria, Lebanon, and Iraq invaded.

The Israelis, though less well equipped, managed to fight off the Arabs and then seize key territory, such as Galilee, the Palestinian coast, and a strip of territory connecting the coastal region to the western section of Jerusalem. In 1949, U.N.-brokered cease-fires left the State of Israel in permanent control of this conquered territory. The departure of hundreds of thousands of Palestinian Arabs from Israel during the war left the country with a substantial Jewish majority.

During the third Arab-Israeli conflict—the Six-Day War of 1967—Israel again greatly increased its borders, capturing from Jordan, Egypt, and Syria the Old City of Jerusalem, the Sinai Peninsula, the Gaza Strip, the West Bank and the Golan Heights. In 1979, Israel and Egypt signed a historic peace agreement in which Israel returned the Sinai in exchange for Egyptian recognition and peace. Israel and the Palestine Liberation Organization (PLO) signed a major peace accord in 1993, which envisioned the gradual implementation of Palestinian self-government in the West Bank and Gaza Strip. The Israeli-Palestinian peace process moved slowly, however, and throughout the 21st century, major fighting between Israelis and Palestinians has resumed in Israel and the occupied territories.

BY: HISTORY.COM EDITORS

HISTORY.com works with a wide range of writers and editors to create accurate and informative content. All articles are regularly reviewed and updated by the HISTORY.com team. Articles with the “HISTORY.com Editors” byline have been written or edited by the HISTORY.com editors, including Amanda Onion, Missy Sullivan, Matt Mullen and Christian Zapata.

Trivia: Flag of the Marinduque Revolutionary Forces!

2023-09-14T04:56:00.000+08:00

There was such a flag of the Marinduque Revolutionary Forces under the command of Col. Maximo Abad. The said flag fell into the hands of American forces in Marinduque in a skirmish in 1901 and is described as “a field flag measuring 18x30 inches. Its colors are red, white and blue with but two bars and a triangle white. In the triangle are handpainted characters representing the sun, surrounded by three large stars, which are black. The material of the flag is ordinary bunting”.

The above drawing is one version only of the flag posted by watawat.net based on a written description. Full text of the undated newspaper clipping, main source of the information, is found below.

Full text of the mentioned article: "Senator W.A. Harris has received a Filipino flag from Major Whitman, formerly a member of the famous twentieth Kansas regiment, who is now in the Philippines. Major Whitman is serving in the second infantry, U.S.A. as a first lieutenant. The flag was captured in a recent skirmish on the Island of Marinduque. It is a field flag and measures 18x30 inches. Its colors are red, white and blue, with but two bars and a triangle white. In the triangle are handpainted characters representing the sun, surrounded by three large stars, which are black. The material of the flag is ordinary bunting. Senator Harris also recived a copy of the Filipino constitution, which was captured at Tacloban, Isle of Leyte. It is a diminutive edition, being a handy size to carry in the pocket. It is said that every Filipino soldier carries with him at all times a copy of their constitution. The copy which Senator Harrris has possession of is the property of Senor Bernabe Odayate, whose name is very legibly inscribed on the cover."

Information about this flag came to the knowledge of local historical researcher, Curtis Shepard, and was shared with this blogger years ago. Shepard maintains a blog, ulongbeach.com devoted to publication of research materials on Marinduque's past.