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A Filipina Perspective on Indigenous Contemporary Dance

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A Filipina Perspective on Indigenous Contemporary Dance MANARIWA: A FILIPINA PERSPECTIVE ON INDIGENOUS CONTEMPORARY DANCE A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI‘I AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN DANCE MAY 2017 By Toni Marie Temehanaoteahi Franco Pasion Thesis Committee: Kara Miller, Chairperson Roderick Labrador Amy Schiffner Keywords: Toni Pasion, Indigenous, Contemporary, Dance © Copyright 2017 By Toni Pasion i To my ancestors, for setting the space To my parents, Tony and Marie To my brother, Jayson To my sisters Junie and Lori-Ann To Abe ii ACKNOWLEDGEMENTS Thank you to my families in California and the Philippines. Thank you to the members of my committee Roderick Labrador and Amy Schiffner, for sparking my mind to think for the future of education and Philippine communities. Many thanks to my chairperson and advisor, Kara Miller, for such great dedication and guidance these past two years. Sincerest thanks to Clarissa Mijares Ramos of Ateneo University, for your insight and helping me navigate my journey through dance in the Philippines. Those who have generously given their time and shared their stories with me at the Dance Department in the University of the Philippines, Diliman: Honey Lyn Juntila, JM Cabling, and Angela Baguilat. Thank you to Dumay Solinggay, for hearing me and helping me think through dance in Baguio. Thank you to Miguel Pangalangan and the University of the Philippines, Baguio for your archival help. Thank you to Paul Morales, Artistic Director of Ballet Philippines, for being so generous with your time and help. Thank you to founders of Kayamanan Ng Lahi: Joel Jacinto, Barbs Ele, Ave Jacinto. Thank you to Kumu Aulii Mitchell, Hālau Moananuiakiwa, and Manulani Meyer for inspiring and supporting me to look deeper into my Philippine heritage while I was in Aotearoa. This was the stepping stone to me being here. Thank you to Wayne Mendoza at the University of Hawaiʻi, for being a great inspiration, and a wealth of knowledge and experience of Philippine Dance in Hawaiʻi. Thank you to Dave Beales, librarian at the University of Hawaiʻi, for helping me to organize my ideas and supporting my research from my beginning semester. Thank you to Jack Gray, Sri Susilowati, and Tiopira McDowell for writing me letters of support to study at the University of Hawaiʻi. Thank you to Karen Mosko and Salvie Lou Makiling for sharing and trusting your insightful narratives with me. My sincerest gratitude to everyone who had supported my travel funding. iii Thank you to Jack Gray and Dåkot-ta Alcantara-Camacho, for being anchors of energy and support wherever you are. Thank you to artists of the Indigenous Dance Forum, Fanhasso, and I Moving Lab. Thank you to the dancers of Manariwa. I will never forget it, and I am always wishing you well. iv ABSTRACT This thesis is an auto-ethnography utilizing dance, performance, and practice-as- research as cognitive methodologies to document indigenous contemporary dance from a Filipina perspective. There are three main segments of analysis: 1) my participation as a dancer in three indigenous contemporary dance projects that took place on Mannahatta/Manhattan, Guåhan/Guam, and Molokaʻi, Hawaiʻi; 2) conducting a survey of dance in Antipolo, Manila, Nabua, Baguio, and Laoag, Philippines; and 3) producing a dance performance on Oʻahu, Hawaiʻi entitled Manariwa. All of these events show how dance and performance are utilized to cultivate inter-cultural collaboration and community gathering. Impetuses of this thesis are to critically inquire Philippine cultural identity, cultivate indigenous relationships, and strategize how dance can be conducted as healing and as a method of cultural innovation. To do this, I question in each segment: How does place inform choreo-graphy? How do dance and performance help build communities and sustain cultures? v TABLE OF CONTENTS Abstract …………...……………………………………………………………...…………….. v List of Figures …………...…………………………………………..…………..…………….viii List of Abbreviations …………...……………………………………………………………... x Chapter 1 - Personal Narrative and Introduction…………………………………………… 1 Chapter 2 - Methodologies …………………………………………………………………... 8 Chapter 3 - Literature, Performance, and Media Review …………………..…………… 14 Chapter 4 - Shape-Shifting Bodies and Architectures ………………………….....…….. 23 Chapter 5 - Vignettes of Indigenous Contemporary Dance …………………………….. 30 Mannahatta, Lenapehoking: Indigenous Dance Forum …………………. 30 Guåhan: Fanhasso ……………....………………………………….………. 42 Molokaʻi, Hawaiʻi: I Moving Lab …..….…………………………….….…… 59 Chapter 6 - Philippines: Survey of Dance ……………………………………………....... 72 Chapter 7 - Creating Manariwa ………………………………………………………..…... 90 Concept …………………………………………………………………..…... 91 Production Elements …………………………………………..………..…... 95 Times and Locations ………………………………………………… 95 Performance Media ………………………………………………….. 95 Music ………………………………………………………………….. 96 Costuming ……………………………………………………………. 96 Production Cast ……………………………………………………… 97 Forms of Documentation ……………………………..…………….. 98 Description of Dances …………………………..……………..…... 100 “Bari Bari Apo” …………………………….………………....100 “Mana Wahine” …………………………….……………….. 100 “Ray” ………………………………………….….………….. 101 “I Am Carrying Three Feathers” …………….…….………. 101 “Indigenous Voices/Dances of Water” ……….…………... 101 vi “Standing Rock” …………………………………….………. 102 “Maglalatik” ………………………………………….………. 102 “Batok/Ilaw” ………………………………………….……… 103 “Hawaiʻi Aloha” ……………………………………….…….. 103 Post-Performance Reflection …………………………………..…. 104 Reflection on Gender ………………………………………………..105 February 10th Performance Documentation ………………………106 Chapter 8 - Conclusion: A Filipina Perspective on Indigenous Contemporary Dance..111 Appendix A - “Women’s Voices/All In” ……..…........................................................... 115 Appendix B - Interview Transcript: Paul Morales......................................................... 117 Appendix C - Interview Transcript: UP Dance Students — Japhet Mari “JM” Cabling, Honey Lynn Juntila, Angela Baguilat .................................................... 128 Appendix D - Fanhasso Performance Flyer …………………………….........................140 Appendix E - I Moving Lab, Molokaʻi Performance Flyer ............................................ 141 Appendix F - Manariwa: Part 1 Performance Flyer ..................................................... 142 Appendix G - Manariwa: Part 2 Performance Flyer …………………………………...…143 Appendix H - Manariwa: Part 2 Performance Link …………………………………….…144 Appendix I - Ray Kalani Pascual, Post-Performance Reflection …………………….... 145 Appendix J - Preliminary IDF Program Draft ………………….………………………….147 Bibliography ………………………………..…............................................................... 153 vii LIST OF FIGURES Figure 1: Eisa Jocson performing Stainless Borders. Figure 2: Jocson performing Up. Figure 3: Photo courtesy of Salvie Makiling. Figure 4: Concluding circle with Karen Mosko closing the event. Figure 5: IDF Opening activities. Figure 6: Michael and Karen Mosko. Figure 7: Dancers Bianca Hyslop, Allison Lehuanani DeFranco, Marya Wethers, Jasmin Canuel, Sammay Dizon performing the Mitimiti water dance. Figure 8: Grace Elaine Osborne, Mark Mauikānehoalani Lovell, Alison Lehuanani DeFranco during the post-show panel. Figure 9: The author speaking during the post-show panel. Figure 10: Statement during the closing ceremony of FestPac. Figure 11: The Azotea. Figure 12: Rehearsal space, the Ypao Soundshell. Figure 13: Alethea Bordallo and Russchel Seballos Blas performing with bandage nets. Fanhasso at GAX. Figure 14: Alethea Bordallo and the author during rehearsal. Dancing with a net. Figure 15: Roquin-Jon Siongco-Quichocho, Roldy Aguero Ablao, Alethea Bordallo, and the author improvising in Lasso’ Fuha. Figure 16: Roldy Aguero Ablao at Lasso’ Fuha. Figure 17: Closing ceremony during the 12th Festival of Pacific Arts in Guåhan. Figure 18: I Fanlalai’an surrounding the dancers and musicians in a circle and chanting I Tinituhon to conclude the performance. Figure 19: Muscle & Bone workshop. Figure 20: The author preparing for the Mitimiti Water Dance, starting as a flock of birds flew across the ocean. Figure 21: Alcantara-Camacho chanting I Manmatao as the audience walks up the ramp to enter the hall. viii Figure 22: Dizon, Alcantara-Camacho, the author, and Gray performing the Goddess dance. Figure 23: Dizon performing “Reclaim Bae.” Figure 24: Alcantara-Camacho, Gray, the author, and Dizon hongi with Molokaʻi community after the performance. Figure 25: Potluck post-performance on the back deck of Kalanianaʻole Hall. Figure 26: Pictured left to right: Alecs Mendoza, Gabrielle Remy, Cecilia Mendoza, the author, Sendy Mendoza, Axcel Lopez playing an impromptu mimic game. Figure 27: From left to right: Ian Lagrimas, Joseph Bisenio, unclear, Jhuvil Verango, Robin Orbita, unclear, Johnces Bisenio, unclear, Harley Camposano, Mario Labrador. Departing party in front of Uncle Eugene and family’s home. Figure 28: Celebration in front of Uncle Eugene and family’s home. Figure 29: Dyna Paulino and Denise Marcelo teaching the author the dance, Indaya Tadek. Figure 30: Cordilleran tribute statue located in Igorot Park, Baguio. Figure 31: Top row, left to right: Grace Parson, Marley Aiu, the author, Lexi Gilman, Hepsy Zhang, Pakalana Agliam, Tavehi Tafiti. Bottom row: Charessa Fryc, Kianna Dizon, Chantelle Sonoda, Ray Pascual. ix LIST OF ABBREVIATIONS Indigenous Dance Forum ………………………………………………………….………. IDF Matao New Performance Project ………..……..….................................................
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