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Explorations 2011 Final 2 Desiree Quintero Dansuer Bantugen: Gendering of the Filipino Hero DESIREE QUINTERO University of Hawaii at Manoa Introduction With the stage black, a melody of a chant filters hauntingly through the air. One cannot decipher if it is a woman chanting, or perhaps a flute rendering a simi- lar sound. A lively, bouncing kobing1 enters the melodic soundscape. Rattling engenders anticipation in a suspense-filled theater. The thumping of a primal drum and the clashing/crashing of gongs generate sounding in a chaotic frenzy, which makes its way into for the procession from stage left; it is led by two bare-chested men carrying 10 foot poles with flag like tassels hanging from what looks like large pointy “rice hats.” Three Figure 1: malong2-clad ballerinas follow closely behind, execut- Poster of ing coupé en dehor pirouettes alternately left, right, left, the right twirling their woven palm leaf fans. They are Darangen ni Bantugen partnered with three men with arms in a stylized fourth position3, wearing spandexed purple knee length tights with a silver sash/apron hanging from hips. The sash is perhaps a fusion of an Ancient Roman warrior costume and a “native” g-string? A line of maidens in long or- ange dresses and gold okir4-esque tiaras walk in smil- ingly, arms in a Bayanihan5 Pangalay style fourth ettes. The men, choreographed in a musical queue, with position, with flexed wrists. Kolintang6 gongs tinkle in legs splayed in second position, imitate the pounding the background as the “King” strides in, donned in a drums in the air, as if manifesting what has become a black waist-length jacket, knee length tights, gold very “native” or “primal” atmosphere. The men’s apron and a bright gold-sequined crown, followed by movements are open and staccato in comparison to the several sabulayan7 bearers. The King walks upstage women who gracefully manipulate their fans, confined center and stands confidently, defiantly, legs parted in within their own personal space. second position8, in an assuringly masculine way. Suddenly, rattling erupts. The dancers leave mid The three fan dancers and their partners enter into a stage. Bantugen enters from stage left, defying gravity short combination mid-stage in circular formation. The by executing a grand switch leap in what seems to be women and men dance in ballet flats in contrast to the six feet in the air. He is wearing a simple green jacket, a pointe-shoed9 maidens observing on the side as part of white leotard, and green tights with a green sash tied the King’s court. The couples go into a two-line forma- around his head. Bantugen ends in relevé10, thrusting tion executing various arabesques, jumps and pirou- his kampilan11 in the air. He hands the kampilan to an Volume 11, Issue 1, Spring 2011 31 Dansuer Bantugen attendant, greets the King with a bow and an appro- Bantugen is a direct attempt (by the State) to subsume priate handshake then touching the heart, in true Maranao identity under the Philippine body politic Southeast Asian (Muslim) male protocol. Bantugen through the appropriation of the cultural arts: that is, then prepares for his solo, as the maidens gaze in admi- what is Maranao becomes Filipino through a process of ration and desire. In a whirlwind combination, Ban- refashioning. Darangen ni Bantugen recontextualizes tugen performs tour jetés, tour en seconde, tour en l’air, images of “Moro” masculinity from what was histori- pirouettes in grande allegro style- a feat for the princi- cally considered in the Philippine arts as the Muslim ple danseur. Other to the refined Filipino Hero. In this context essentialized ideas of masculinity have morphed from the belligerent, morally deprived Moro found in kome- The Philippine Ballet Theatre performed Darangen dya plays to the warrior/prince of Bayanihan’s dance ni Bantugen at the Tanghalang Nicanor Abelardo piece Singkil, thus culminating in the Filipino Hero Theater, located in the Cultural Center of the Philip- observed in Darangen ni Bantugen. Borrowing from pines (CCP) on May 14, 2008. It was premiered as part Shay, I contend that “balleticizing” an indigenous folk of a month long celebration of Filipino culture and form is an attempt to create a high art that is under- arts, organized by the Filipino Heritage Festival Com- stood within the Manileño18 gaze as belonging not only mittee. On November 25, 2005, UNESCO declared to the Maranao, but rendering it as part of the Philip- the Darangen, a Maranao epic chant, a masterpiece of pine nation’s cultural history. Darangen ni Bantugen oral and intangible heritage.12 The Maranaos of Min- reassigns an ownership of culture, from being Moro or danao (from namely the Lake Lanao region) are con- Muslim to Filipino, thus legitimizing and adhering to sidered to be the largest of the thirteen Moro13- the UNESCO recognition of the Darangen epic as ethnolinguistic groups in the Southern Philippines.14 intangible heritage. This recognition invokes a set of According to UNESCO, the Darangen, composed in issues and concerns over ownership: Who “owns” this classical Maranao verse, is the longest Philippine epic art? Who can create from this art? Who is this art for? with 72,000 lines. The epic, which is chanted by a pro- Against this backdrop, the ballet Darangen ni Ban- fessional singer called an onor15, can take days or even tugen becomes the manifested answer to these ques- weeks to recite in its entirety. Gener Caringal, Philip- tions: the Darangen, a Maranao art form, is simultane- pine Ballet Theatre’s artistic director during the 2008- ously both Filipino AND Maranao/Muslim/Moro. The 2009 season, choreographed a ballet based on the ballet is syncretic, mixing balletic forms with Bayani- Darangen fittingly titled Darangen ni Bantugen, the han derived movements, infusing Filipino ideas of story of Bantugen. As part of the lineage of Philippine masculinity and femininity within a seemingly “origi- dance housed in the government-subsidized CCP, the nally” Maranao and ultimately “Filipino” story. Philippine Ballet Theatre is one of three major ballet companies in the Philippines, including Ballet Philip- The construction and dynamics of performance as pines and Ballet Manila16. Also within the auspices of practiced within Maranao society through the holistic the CCP is the celebrated Bayanihan National Dance chanting performance of one woman or man and her/ Company, the Philippine cultural “attaché” that has his kolintang ensemble is different from a ballet where defined and brought “national” dance and music to an theatric devices such as sophisticated lighting design, a international audience through its tours. Central to the musical score and dramatized choreography interact to many myths and stories contained within the Darangen produce a spectacle onstage. The “western” theater is the mythical hero Bantugen, or Paramata Bantogen, experience creates certain protocols of performance, who is considered by the Maranao to be the “perfect using the different sensory experiences of the audience model of all the qualities that should be found in a member’s eyes and ears, which that are focused and man.”17 separated from a proscenium stage. This is in contrast to a Maranao gathering or celebration that may be held In this paper, I will discuss how the ballet Darangen at someone’s house, where people may have their at- ni Bantugen, as performed by the Philippine Ballet tention elsewhere besides the musical performance. Theatre, is a reflection of the shifting ideas of “Filipi- noness” and “Maranaoness” in modern Philippine For Filipinos, the desire to retrieve and attach a per- society. I argue that the shift echoed in Darangen ni ceived pre-Islamic art form such as the Darangen is a 32 EXPLORATIONS a graduate student journal of southeast asian studies Desiree Quintero deliberate attempt aimed at connecting to what is seen as an uncolonized past. The Darangen represents a rich cultural history that is Filipino, contradicting and reacting to the notion that Filipinos are a “people without culture.”19 As a result of this appropriation, the Christian versus Moro dichotomy in Filipino perform- ing arts, from komedya plays to dances such as Magla- latik20, is redefined: Darangen ni Bantugen becomes a manifestation of this dialogue as Bantugen transforms into the “syncretized” male who dons/embodies both the Filipino and Maranao/Moro identity. Bantugen is refashioned as the cultured Moro, the ballerino, the Figures 2 & 3: warrior and the hero. Watching Darangen ni Bantugen Sultan, “being” Filipino resituates the Moro as Other; it visu- Sultana and ally and performatively integrates the Moro as Self, Princess even if such a theatrical movements derives from an Christian Soldiers. image or sense that exoticizes and idealizes the cultural Komedya ng heritage of the Moro as Other. Darangen ni Bantugen Don Galo constructs the mythical Maranao world of Bemburan21 performed at as the Other in relation to the urban and national cen- Komedya ter of Manila, creating a valued binary between Mani- Fiesta 2008 at University of leño hegemony and the Moro Other. By identifying the Philippines with the Moro Other through an assertion that the Da- (Skyscraper rangen is “Filipino” and thus reconstructing the Moro City: Asian image that had pervaded and informed certain Philip- Forums 2010) pine cultural art forms such as the komedya and Baya- image the gendered Moro male as a “Cultural” Hero. nihan’s Muslim Suite, the Philippine Ballet Theatre is attempting to re-present Bantugen as a quintessential The depiction of Bantugen through its “make it ma- 23 “Filipino Hero.” Darangen ni Bantugen’s choreo- cho” balletic choreography supplants the conven- graphic dance argument22 situates Bantugen as a le- tionalized gender constructions that are present in the gitimate Filipino cultural hero whose story has been original narrative chants and songs with different cate- preserved by the Maranao, in spite of Spanish coloniza- gorizations of gender.
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