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Towards Writing and Performing a Contemporary Epic Poem Merlinda Bobis University of Wollongong

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Towards Writing and Performing a Contemporary Epic Poem Merlinda Bobis University of Wollongong University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 1994 Circling the mountain: from naming to namelessness: towards writing and performing a contemporary epic poem Merlinda Bobis University of Wollongong Recommended Citation Bobis, Merlinda, Circling the mountain: from naming to namelessness: towards writing and performing a contemporary epic poem, Doctor of Creative Arts thesis, School of Creative Arts, University of Wollongong, 1994. http://ro.uow.edu.au/theses/948 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] CJIRCUNG THE MOUN'rAJIN: FROM MAMJING TO MAMlBJLJBSSNBSS Towards Writing and Performing a Contemporary Epic Poem A thesis submitted in partial fulfilment of the requirements for the award of the degree DOCTOR OF CREATIVE ARTS from THE UNIVERSITY OF WOLLONGONG by MERLINDA BOBIS B.A. (AUL), M.A. (UST) SCHOOL OF CREATIVE ARTS 1994 ABSTRACT Circling The Mountain: From Naming To Namelessness is an annotated document which supports a 20,000 word epic poem (in two versions: English and Filipino) entitled Kantada ng Babaing MandirigmalCantata of The Warrior Woman Daragang Magayon. This explanatory text documents the process involved in writing and performing my epic, in which I recast a traditional myth about the active volcano Mt. Mayon in my region Bikol in the Philippines. Through a discussion on feminism, language and the epic genre, this story of my creative process also explains the thesis of my epic poem: re-inventing the Self beyond rigidified and oppressive definitions of identity. This process of becoming is examined through three principal sections: naming, unnaming and namelessness. Part One, NAMING, contextualises my creative process by establishing the inhibiting or oppressive names, labels, stereotypes and myths which define the Self (in terms of its gender or language), and which motivated me to write the epic. Part Two, UNNAMING deals with my actual writing and performing of the epic. It illustrates how I break the signifiers established in Part One by re-visioning the Self beyond the definitions imposed by any constraining tradition or ideology. Part Three, NAMELESSNESS, concludes the commentary on my creative process and assesses the politics of such a process and the epic. It asserts that oppressive signification may be avoided if the Self becomes 'nameless' in its ever-shifting identities. Initially, this documentation protests against rigidified naming (in which the Self is defined as an absolute and fixed identity by its sexual or ideological Other). Such an issue is resolved with this proposition: 'Unname' the Self into namelessness by allowing. the fluid, healthy, interactive and non-hostile play of its multiple Selves and Others. To John i i TABLE OF CONTENTS Prologue v PART ONE: Naming 1 Setting Out 2 Outvoicing The Icon 5 In My Voice 7 This Is My Story 9 2 Thy Name Is Woman 12 Pre-colonial Power 15 Colonisation and Disempowerment 20 Internal Colonisation 23 Devirs Gateway 26 The International Name 28 3 'Arms and The Man' (And Woman) 32 Ancient Sexual Politics 34 Mandate of The Heroic 45 4 The Epic Tradition 48 Epic: A Traditional Genre 49 The Epic Form 52 Epic as Performance 56 A Question of Authenticity 60 5 The Language Fetish 63 The Curbed Pleasure of English 65 Post-colonial Resolution 67 The Native Conflict 70 Write as A Man/Woman 71 PART TWO: Unnaming 75 6 Towards Unnaming: Reclaiming Power 76 Philippine Feminism 81 In Another Voice 86 7 Re-intemreting The ancient 91 Daragang Magayon Myth 94 Re-telling The Myth 97 iii TABLE OF CONTENTS (cont'd.) Re-weaving Myth, History and The Present 9 9 8 Re-inventins The Epic 110 The Fixed Text 111 The Fluid Text 116 9 Re-dreamins The voice 122 Translation: Two Voices 123 Bilingualism: The Two-timbred Voice 126 The Bilingual Epic 131 Voice of The Earth 134 PART THREE: Namelessness 137 10 Namelessness (Is Conditional) 138 Warrior Woman: Just Another Name 140 Namelessness: Into The Semiotic 1 42 Self-Other In One Self 145 Performance: Spontaneous Ambiguity 146 1 1 Coming Full Circle 1 5 1 From Fire To Water: Towards A Thesis 1 53 Fire: A Personal Anti-thesis 158 Water and Fire: The Synthesis 1 6 3 Bibliography 1 66 Appendix: Performances of the Epic Poem, 1992 - 1994 181 iv PROLOGUE I come from the foot of an active volcano. An old story says this mountain was once a woman. Having heard her voice will the earth, wind and water to [ire, I figured she must have been a formidable being in her time. It amazes me then that a myth of silence came to be woven about her. Rumours insist that, once, she was a beautiful silent creature. That her father and lovers wrote her tragic fate. Such a story is out of character. Her more than eight thousand feet of wounded but solid core of fire tells me that this is not her story. It was imposed on her. I am indignant. I decide to read this mountain's body with my own. Her body will tell me another story. Her own story. Each of her wounds is a mouth. She will tell me many stories. I pretend my body is a word. Then, I stretch myself around her immense girth. This is is the only way - if I encircle her, I will gather what she holds. I will know her own stories. I write-span her circumference of power. In the end, I find myself curled around her. Surprisingly, my soles are planted firmly on my head. I have stretched myself this far. I am a dancer executing a difficult figure. My soles on my head. I have come full-circle. I touch me - what I am, what I am not, and what I can be. I find my own story. v 1 1 SETTING OUT Mayan Volcano Know me now in the years you dreamt, the tossing of days that have desired to rise, in the hit-beat of each minute that deepened gashes into grooves, into wounds not mine alone. Reply of the Mountain (Prologue, Kantada) 2 I shall take you around the mountain. I shall tell you the story of how I wrote my story - of how I circled the volcano, allegorically, while writing and eventually performing my epic poem Kantada n~ Babain~ Mandiri~malCantata of The Warrior Woman Daragang Magayon. No, I did not scale the mountain. I only gathered its girth. In a span of five years (1987 - 1993), I gathered stories - both myth and reality - around and about the volcano and its foothills, in order to re-tell them into another story. Now, having concluded both trip and tale, I shall re-trace that act of gathering and re-telling in this documentation. This explanatory text about my writing and performing of the epic is also structured as a journey around the mountain. It is a re-trekking, not only of my creative process, but also of the poem's thematic development. As such, this documentation assumes that its reader is familiar with my epic. Even so, in order to contextualise our journey, I reiterate my epic's basic argument, which is also asserted in this documentation: To struggle against rigidified and oppressive definitions of Self, I must endlessly re-invent my identity in answer to the need of a particular moment; hence, I can become a multitude of beings, always uninhibited and self­ empowering. Such a process of becoming weaves through three principal stages: naming, unnaming and namelessness. Naming is the act of defining identity, which, though necessary to acknowledge that which is named, can result in oppressive stereotyping. This rigidified possibility of naming is what my epic and this documentation rejects, through the process of unnaming: the process of breaking names which inhibit or disempower the human being. Unnaming is made possible by taking - on a new identity that restores dignity and power. Continuous unnaming, in the hope of exploring different identitites, leads to an ideal state of namelessness, in which the individual is not fixed under one self, but remains fluid and amorphous in his/her multiple and ever-shifting identities. This ideal state of namelessness is my objective for the female protagonist in the epic. As a tale of 'unnaming' the Self into namelessness, my epic re-writes a traditional myth about Mount Mayon, an active volcano 3 in Bikol, the region where I was raised in southern Luzon Island of the Philippines. This folk story tells about Daragang Magayon (,Beautiful Maiden') who becomes an item of war booty traded by powerful men and whose grave later grows into an active volcano. My epic, on the other hand, re-names and transforms the disempowered Beautiful Maiden into the Warrior Woman, who rejects the determination of her fate by male authority and, instead, takes up arms in defense of her self and tribe. Moreover, in my refusal to subsequently 'fix' her within a single and combative stance, I also portray the Warrior Woman beyond the armed struggle and in the varied possibilities of human experience. This feminist vision of a self-determining woman, who continuously explores her multitude of selves, was inspired by the fiery and seemingly amorphous Mount Mayon. I grew up at the foot of this imposing 8075 foot peak of burning rock and sometimes lush vegetation. This volcano has a distinct conical shape - indeed, it is considered as the most nearly perfect in the world - yet we Bikolanos claim that the mountain never quite looks the same. It wears a different face at every angle from which you view it, especially if you are travelling around it.
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