(This is the second of a series of articles comprising my critique on the Tan-ok ni Ilocano Festival of Festivals 2014 held Nov. 29 at the Marcos Stadium in Laoag City. Read also the article Batac a genius… no loser!)
It was the fourth edition of the Tan-ok ni Ilocano Festival of Festivals, now considered as the biggest gathering of Ilocanos, having drawn almost 50,000 in the Marcos Stadium last Nov. 29 at the Marcos Stadium. Celebrating greatness in most creative forms, the show featured once more performances from each of the 21 municipalities and 2 cities of Ilocos Norte.
Tan-ok, arguably the most anticipated event organized by the province, has steadily led to a state of maturity, taking small steps since its debut in 2011. Without blinking an eye, I’d say that last installment was the best ever. There were a lot of breakthroughs—not just steps but strides towards even greater planes for this phenomenon. Let me, dear karikna, detail my observations through this series of critical notes.
Truthful, clear stories
“Your stories are your wealth,” the judges posited during the debriefing meeting held the day after the competition. They expressed amazement over the clarity and richness of the narratives they saw unfold in most performances. Unlike the street-dance based festivals in the Visayas like the Sinulog and Dinagyang, the strength of Ilocano presentations indeed lies on our people’s tales.
Personally, I am glad that the stories presented this year were not only entertaining, but more truthful. Indeed, as confessed by Edna Vida Froilan, one of the country’s dance icons, who sit as one of seven Tan-ok judges coming from diverse backgrounds, judges are like “babies” who don’t know or know very little about the culture of the locality. They thus evaluate performances based only on what they see. The burden of determining authenticity, therefore, are not on their shoulders.
It was wise of the festival organizers headed by creative director Aian Raquel to hold a story conference prior to the big event. I am happy (and humbled) to have been invited to share my thoughts to choreographers and key people involved in drafting the storylines of every contingent. I would usually just write critiques after the show, just like this one. Interacting with our local artists early on was a welcome experience because it allowed me to talk more on the future, and ramble less about the past. During the conference, I already had a feeling that this year’s Tan-ok will be very different. That feeling was right, and it was very evident in the case of Laoag. Continue reading “Why this time I am proud of Laoag”