this logo i designed for the first K.E Alumni gathering
Every time there is an interview about my major influences in my artistic development, my stint in the K.E and my relationship with its artistic director would always popped out in the discussion. For whatever I became today as an accomplished artist, I owe it with a company that molded not only my talent as an artist but essentially my life philosophies that became my artistic statement and personal guide. Kuya Romy, as we fondly would call our artistic director, imparts in me that because art is not neutral and derives its energies from the dynamism and conflicts of society, it is also an agent of change. As it tackles social and political themes, it shows its affinities and sympathies with one or the other pole of the productive relations. Its approach to these themes may not necessarily be direct and unmediated, but it may be development of social or political theme in several works or in a body of work, which takes up different aspects. Its approach may be dramatic or low key, even subtle, sophisticated and highly complex with layers of allusions and symbols.
our dear mentor, friend, kuya, mader, critique & beloved artistic director Kuya Romy Narvaez
Kuya Romy would often admonishes that art as an agent of social change will always be the challenge for serious artists because they want to affirm the vital role of art in society and social transformation and its part in the making of history towards a human and just order which eludes our grasp at present. And from these very words my perception of life changed and came a turn around to pursue whatever artistic persuasion that I had at that time and joining the Kabpapagariya Ensemble was a defining option.
DULA TA: The small play that made K.E. a big national sensation that finally made it to the international theater tour in Cyprus, Greece & Israel
Kabpapagariya Ensemble was born out of love and dedication to promote culture and arts. It is originally conceived and trained as a drama group, but has become a drama group that dances because in its growing years, its main audiences would always expect it to be entertained with dances and songs. Kabpapagariya means brotherhood or the act of making friends, a term that has played a very important role in the lives of its founder, Mrs. Emeberta A. Nazareth and its subsequent artistic director, Romeo F. Narvaez, as both members of the Sining Kambayoka. Their stint in this CCP Gawad Sa Sining Awardee cultural troupe under Frank Rivera would later influence the very nature of Kabpapagariya’s future presentations and collections of productions.
As we all know that most of the Theater in Development practitioners in Mindanao at present are inheritors of dramaturgical traditions as popularized through the works of Father Dong Galenzoga, Karl Gaspar and Frank Rivera, the PETA (Philippine Educational Theater Association) trained individuals who planted the seeds of the different theater groups and mounted significant works using cultural elements as base form of their art production presenting the dire sentiments of Mindanao at that time: martial law under the Marcos dictatorship and peace brought by the conflict between the MNLF and the government.
Fr. Dong Galenzoga started the community-type repertory tradition where he mounted the Maranatha composed of local folks of Kolambugan, Lanao del Norte presented the issue of the locale’s clamor for peace. Bro. Karl Gaspar started the Creative Dramatics tradition where a training-organizing showcase module workshop brought through out the different provinces of Mindanao and produced cultural groups and organizations and community performances. Organized in 1975, this tradition was institutionalized in the Mindanao-Sulu Pastoral Conference Secretariate-Creative Dramatics. This project has produced Yolando Arban, director of Educational Discipline for Cultural Arts Development and Services(EDCADS, Inc) in Butuan City; Nestor Horfilla, founder and nurturing father of the Davao City based KALIWAT Theater Collective; and similarly school based theater group at Ateneo de Davao emerged due to the growing tide of student’s awakening and protests and engaged in nationalist theater productions.
On the parallel development, Frank Rivera started the Kambayoka Theater Tradition or aptly known as Sining Kambayoka in Mindanao State University, Marawi campus focusing on Maranao folk tradition and culture inclined to the repertory form of existence while the creative dramatic program engaged in organizing community-based as support for organizing people around issues such as war, dictatorship and peace.
This tradition has produced Garitoy Riconalla, Romeo Narvaez, Tala Torres, Sunnie Noel, and countless other artists scattered throughout Mindanao.
Kuya Romy puts it that these artists roused the sentiments of the communities through their works of concern, putting forth an agenda of identity and self-determination. They served as catalysts in breaking the order of apathy and submission, which has ruled this period and their art became the means for promoting peace in the region. These artists offered original and indigenous pieces of expressions valued at the time.
Mindanao cultural scene welcomed the birthing of a special breed of artists who were not only confined as theater practitioners but also as cultural workers thus the Mindanao community theater was born and Kabpapagariya Ensemble is part of this defining moment.
K.E. is a type of a theater group that utilizes various themes and contents. It is peopled by a wide range of characters from virtuous folk making use of folk tales and traditions as well as contemporary events. Its stories are those of despair, hope, struggle, virtue, joke, resistance or simply people’s perception of things, but one thing it stands in common with the other theater groups in Mindanao, the obsession of presenting the issue of peace whether directly or in symbolical imagery. Contents either are treated as problems, experiences, aspirations or dreams of the Mindanaoans, the theater practitioners who by themselves are actively involved in the throes of a society in transition.
The Mindanao Experience has for its givens, the Mindanao society, the contradictions within, the rich cultural heritage, the determination, impulse and dedication of would-be theater artists-trainers-organizers and the people struggling to be liberated and be free. In the early seventies, there was massive call throughout the island for alternative actions for awakening. While the awakened segments kept alive the alternative media for education, theater became a very credible form to be developed and be used.
Mam Emy founded K.E from students of Mindanao State University in General Santos City that started as “lunchtime entertainers” in the university cafeteria in 1982. Since then, it has become the official performing arm of the university.
By 1984, with Romeo Narvaez as its Artistic Director, the group started to mount productions based on the folklore of the B’laan, T’boli, Maranao and Maguindanaon. While Cebuano and Ilonggo narratives are used in its production with contemporary themes. For its laboratory productions, the group avails award-winning one-act plays to the delight of its audience. Kuya Rom not only nurtures and develops its members but also encourages them to create original musical compositions, to experiment on ethnic music, innovate popular folk and pop songs.
The training and outreach desk of the group which exposes the members to facilitating workshops, directing plays and dance productions are being intensified every year because of the countless requests coming from academes, private companies, youth groups, parish-based organizations and even from NGOs that has special programs for street children and prostituted women.
As part of the K.E's trainer-facilitator, we had conducted workshops that paved the way of birthing of other groups in Gensan as well as in other regions. The Holy Trinity College Theater Arts Guild in 1994 was founded thru these kind of workshops including the Likas Teatro of Notre Dame University in 1997.
Memorable productions are “Kawing” a Maguindanaon production that deals with traditional change presented as front act of Liza Macuja and Nonoy Froilan’s show in General Santos City in 1987; “Isang Alamat ng Singkil” a Maranao legendary musical comedy piece; ‘Angok’ based on B’laan oral narrative presented during the 25th anniversary of Dole Philippines; “Ulad de Tana” a B’laan repertoire presented in 1988 during a Mindanao wide land reform conference; the mythical “Danganan” and the Maranao based “Torong-Torong”; the comical piece with three characters based on a B’laan legend, “Si Bong Tion, Si Tua Lagi”; the musical comedy “Don’t Disturb: God at Rest”; an adaptation of the monumental epic “Darangen”, the production of song and dance repertoire, “The Abduction of Princess Lawanen” presented during the International Gathering of Passionist fathers in Gensan of 1989; “Mga B’laan at ang Mga Maguindanaon” presented during the sister city ceremony between General Santos City and Hadano City of Japan in 1990; and the “Nonoy-Inday” an Ilonggo dance and song Visayan love story piece.
The group presented the B’laan piece titled “Salo-Minom” in the “Pang-Alay 92” at the Cultural Center of the Philippines celebration of the February Arts Month.
By 1990;s, the group mounted 'Si Pilandok' that gained invitation for a tour in schools and communities within Gensan and South Cotabato. This author would accidentally play the role of the villain witch 'Busaon' with Dodong Jamisola as Pilandok.
Another big production was mounted in the 3rd Mindulani Theater Festival titled 'Tud Bulol' that earned the group with another performance at the Cultural Center of the Philippines. The play was based on the B'laan epical narrative with the same title.
At the 2nd Kalilangan Theater Festival together with Sining Kambayoka, Teatro Ambahanon, Sining Ksasato and ARMM Kulintangan Performing Group of Mr. Myke Kamid, KE performed two short plays on the issues of prostitution (Mananayaw) and domestic violence (Asawa). The audience composed mostly of students obviously emphatized, erupting in catcalls when a character dressed as a streetwalker came onstage in the first play, and cheering on the lead actress in the second play as she resisted her husbands physical abuse.
KE begun to be noticed with much serious intent by critics and its peers when it mounted a drama production performed at the Cultural Center of the Philippines, ‘Ang Banay ni Crisanta (The House of Crisanta)’, an adaptation to the Greek classic Medea portraying the issues of gender equality, the corruption of the government and the virtual war created by the government to push its political interest thus putting the issue of peace in its proper perspective. Unfolding the narratives in fast-paced ensemble acting, employing authentic actors to dance the laments of the victims of war, with realistic costume designs, and the use of music and voice-overs to dramatize the aural spectacle, the company transformed the acting area into the different images of Mindanao realities. The company presented Mindanao in a cycle of living and leaving, bordering into a culture of displacement and, yes, genocide.
open forum moderated by then Congressman Mario Aguja
at CCP Little Theater
The play is no doubt a faithful representation of the Mindanao conflict with its presentation that the civilian Muslims, the indigenous peoples, and the settler societies are all victims—to the consequences of bombs and bullets that are fired. We cannot fault the performers that despite such a powerful presentation, still a number from the audience will be viewing it with an acquired explanation that the problem is between Muslim and Christians, which the play strongly demystifies.
The group has produced Bayani Nadua, a gifted artist that made the Layag Pagari musical band showcasing songs about the people of South Mindanao and their struggles for peace; and this author developed his talents and honed his artistic skills in the many productions the group has performed.
By 2000, the group’s alumni formed an extension of K.E., which is to become the K.E. Alumni Performers performing in the city of General Santos, the rest of Mindanao and recently in the Cultural Center of the Philippines. The group’s trademark is the Tri-People Prayer where there is the combination of the Lumad, Muslim and Christian prayer into one fostering unity and peace in the area.
KE once again played a historic role in the Itanum Kalinaw theater component when it mounted a 'work in progress' minimal theater play, the 'Dula Ta' sponsored by the Kalimudan Culture and Arts Center and UNDP Act for Peace to be presented as to motivate discussion and forum about the the issue of peace and peacebuilding in SocSarGen area. The rest is history, so to speak.
The first Gensan Theater Festival participated by MSU-KE, Holy Trinity College Theater Arts Guild under Al Ali, Sining Ksasato Lagao National High School under Mam Jovy Sombero, Fatima National High School Drama Group under Norman Berte
Younger days of Aileen 'Paning' in their costumes including Sheryl, Fatima and forgot the others, jejejeje...
KE Alumni-First Ever Gathering
KE has produced best talents and creative people that are already big names in their own rights. And until at present, KE became synonymous with great performances, original music, promotion of culture, preserver of peace and cultural ambassadors in this part of Mindanao.
