It’s November and all 23 cities and municipalities of Ilocos Norte are in full swing with their respective preparations for this year’s edition of the Tan-ok ni Ilocano Festival of Festivals happening on the 29th.
I highly anticipate this year’s Tan-ok as organizers have given premium on what I, together with well-meaning Ilocano culture advocates, have been wishing for in previous editions: faithfulness to the Ilocano story. Indeed, any self-respecting festival should have at its core the true story of its people who are celebrating greatness, be it of an object, food, event, or any phenomenon.
Last October 24, your karikna was invited by Aian Raquel, the event’s creative director, to serve as resource speaker in a story workshop participated in by choreographers from the various towns and cities. With the exception of a few who failed to attend, I was glad with the receptiveness of the participants.
I delivered a brief lecture on the history and culture of Ilocanos but not after making a clear caveat that everything that I was to say in the workshop was my own insights as a fan who happens to have some knowledge of Ilocano culture and history, and not of the Tan-ok management. I also said that they are not obliged to heed my humble recommendations.
At the onset, I stressed to the participants that artists like them are powerful personas. They, in fact, could even be more influential than politicians, for they shape their people’s consciousness, help them define their identity, and empower them to preserve their heritage while embracing evolution and change. Any artist who sees his value only by the trophies he has won is underestimating, even insulting, himself.
In the course of making the presentation entertaining and winnable, overeager choreographers either in the guise of claiming artistic license or sheer arrogance and plain ignorance, twist and alter the story to the extent that it is rendered unrecognizable by the people who supposedly own it.
Most notorious, of course, in fictionalizing stories is Laoag City’s Pamulinawen Festival. Ironically, it has, over the past four years, brought home 3 championship trophys, lording over the competition since 2012. Over the years, Pamulinawen has been portrayed as blacksmith trade (2011), courtship (2012), and songwriting (2013). In the Mini Tan-ok Dance Competition last February, Pamulinawen was interpreted as cockfighting.
In terms of wealth, both in terms of financial and human resources, Laoag, the city I live in and love over and above any place on earth, arguably has the upper hand. I wish that choreographers will finally zero in on a proper story which will properly shape and define the Pamulinawen Festival which still badly pales in comparison, mainly on account of lack of consistency and character, to more established festivals across the nation. Unfortunately, Laoag was the only group which decided not to talk about their storyline during the workshop.
But why has Laoag consistently won? Continue reading “Notes on the 2014 Tan-ok: Spotlight on stories”