Defining Dulaang Sibol

date posted: 2008-12-05 10:10:16

What is Dulaang Sibol? I. Dulaang Sibol is a THEATRE. It was blessed and inaugurated on a Saturday, 14 August 1976. It is actually the front portion of the High School Cafeteria. It is an air-conditioned intimate theatre with 159 upholstered seats. II. Dulaang Sibol is a THEATRE MOVEMENT. Dramatics, as Fr. Miguel A. Bernad of the Society of Jesus puts in his book,Dramatics at the Ateneo, has always been regarded as an important part of Jesuit pedagogy. In an effort to encourage the whole student body to actually experience this important part of Jesuit pedagogy, the Sibol Repertory Theatre Group, in cooperation with the Filipino Department, has sponsored a number of school wide projects in theatre, with Dulaang Sibol Theatre as the venue. In 1967, the Paligsahang Pandulaan, a contest in the writing and mounting of original one-act plays, was begun. In 1975, theTimpalak sa Sabayang Bigkas, a contest in theatricalized choral recitation, was started. In 1975 also, the Timpalak-Awit, a contest in the writing and choral performance of original songs, was initiated. In 1977, Alay Kay Maria, a Marian choral concert featuring different singing groups and musical artists both in and out of the Loyola Heights campus, was introduced as an annual affair to honor Marys birthday. In 1991, in an effort to prepare Ateneans to reach a wider audience through mass media, changes were made in the annual contests. TheTimpalak sa Sabayang Bigkas was limited to first year students. TheTimpalak sa Dulang Panradyo, a contest in the writing and mounting of original radio plays, was introduced to second year students. ThePaligsahang Pandulaan, now known as the Timpalak sa Dulang Pantanghalan, was held for third year students only. The Timpalak sa Maikling Pelikula, a contest in film making, was initiated for fourth year students. Significant products of these competitions are the now nationally acclaimed play Paglilitis ni Mang Serapio by Paul Dumol and the now nationally performed song Hindi Kita Malilimutan by Manoling Francisco. In 1 December 2000, the newly renovated Tanghalang-Onofre Pagsanghan was, again, inaugurated. The renovation included: the replacement of 131 old seats, the addition of 28 new seats and the beautification of the foyer. III. Dulaang Sibol is a REPERTORY THEATRE GROUP. This is also the Core Group of Sibol. As a repertory theatre group, Dulaang Sibol grew out of the Ateneo High School Dramatics Society. Among its earliest performances were three one-act plays presented in 1956 at the St. Paul High School Auditorium on

Herran Street. It started catching public attention with a series of Shakespearean plays, performed in a grand scale at the High School Covered Courts. Among these were Macbeth, Julius Caesar and Hamlet. In 1966, the group presented at the Ateneo Law School Auditorium in Padre Faura in public performances its first Filipino plays, two one-act plays: Julian Balmacedas Sino ba Kayo? and Soc Rodrigos Paa ng Kuwago. With its presentation of its first Filipino plays, the group gave itself a Filipino name: Dulaang Sibol. Sibol is a root word that catches the spectrum of young images with the addition of affixes. Sibol suggests a spring, a brave burst of crystal clear water; or a sprout, a sprig, green with promise and optimism; or the season of springtime itself. A root word, rather than a finished word was chosen to connote a beginning, a start, an introduction to theatre. In an article for an Australian magazine, Fr. Miguel Bernad, SJ, translates Dulaang Sibol into A Theatre Forever Young with a measure of accuracy; for indeed, much as the group dates back to 1956, the members are always high school students in their mid-teens with the vigor and idealism of the young. By 1972, Dulaang Sibol evolved into a repertory theatre group. Every movement, if it is to succeed, must have a dedicated core group that can be depended upon to pour out selflessly of its time and talent to spearhead the movement. In a theatre movement, a core group is needed to do big jobs and small. To organize the various projects and finance them. To write plays and light them. To act in the plays and advertise them. To order tickets and sell them. To make posters and post them. To welcome audiences and usher them. To open doors and lock them. To complete theatre facilities and clean them. They are the playwrights and the lights men, the lyricists and the composers, the carpenters and the directors, the actors and ushers, the financiers and the janitors. A core group is needed to serve the whole school in its theatre movement. Men for others are necessary in theatre. On Sunday, 7 December 2008, 6:30PM, the Dulaang Sibol, together with Ateneos other home grown and award-winning groups Ateneo Boys Choir, Ateneo High School Glee Club, Ateneo College Glee Club, and Ateneo Chamber Singers, will regale fans with the songs that have made them distinct and popular through the concert Take and Receive: The First Festival of Ateneo Music, at the Church of the Ges, Ateneo Loyola Heights campus. They will perform with the Jesuit Music Ministry artists, Blue Symphony, Bukas Palad, Himig Heswita and Musica Chiesa. Distinguished Filipino musician and composer Ryan Cayabyabs medley arrangement of the different Take and Receive compositions by the Filipino Jesuits will be one of the highlights of the concert. Take and Receive: The First Festival of Ateneo Music marks the Ateneos 149th anniversary, the year of Deepening Spirituality, the second theme of a three-year countdown to Ateneos 150th anniversary, or sesquicentennial. Ateneo de Manila University will celebrate its sesquicentennial on December 10, 2009 with the theme Building the Nation."

www.admu.edu.ph/index.php?p=120..

HISTORY

The CCP is attached to the Office of the President and is under the umbrella of the National Commission for Culture and the Arts for policy and program coordination.

Performing companies representing dance, music and theater reside within the CCP. It has four resident dance companies: Ballet Philippines, Philippine Ballet Theatre, the Ramon Obusan Folkloric Group, and the Bayanihan Philippine National Folk Dance Company. Tanghalang Pilipino is the CCP's resident theater company while music is represented by the Philippine Philharmonic Orchestra, the UST Symphony Orchestra, the Philippine Madrigal SIngers and the National Music Competitions for Young Artists Foundation (NAMCYA). The CCP also covers the mass media as well as the literary and visual arts, encouraging the growth of aspiring artists in these fields through numerous workshops, seminars, anthologies, exhibits, symposia as well as competitions and awards. Through its Cultural Exchange Program, the CCP supports the growth and development of arts councils all over the country thourgh relevant workshops and seminars. In addition, the CCP has also established ties with various international organizations such as the Association of Asia Pacific Performing Arts Center, the Conseil International des Organisations de Festivals de Folklore et d'Arts Traditionnels (CIOFF), the World Dance Alliance and the International Theater Institute. Through exchange programs with these organizations and with other institutions, Filipinos have been able to glimpse the beauty of different cultures from various countries, withnessing many a triumphant performance from highly-acclaimed artists all over the world. The CCP continues to nurture and promote artistic excellence, Filipino aesthetics and identity, and cultural values towards a humanistic global society. With the CCP Business and Master Development Plan now being implemented, the CCP complex is poised to truly becoming a mecca for arts and culture in Asia.

http://www.culturalcenter.gov.ph/

PETA has been known and credited for creating issue-based performances that mirror and reflect the times and for its fearless delivery of truth through a palette of theatrical forms. Now on its 42nd Theater Season, PETA continues to contribute to help bring about social awareness and change through its productions, performances and workshops, as it calls on its audiences to act and respond to the clarion call that hound the Philippine society. Using fresh, innovative and interesting techniques and approaches, PETA welcomes its new theater season as a renewed challenge to test and push the capacity of art in to inform, influence and inspire its audiences. First on its list of productions is Nic Tiongsons opus, Noli at Fili Dekada Dos Mil, an adaptation of Jose Rizals two most influential novels: El Filibusterismo and Noli Me Tangere. Reworked as a postmodern narrative, Noli at Fili Dekada Dos Mil is inspired by real events, characters and testimonials that arose during the landslide in the Quezon province. The story, which revolves around small town politics and the fight against corruption, also zooms into the problem of illegal logging and its corrupted relation with governance and religion. Following Noli at Fili is Christine Bellens Mga Kuwento ni Lola Basyang. Now on its third year, Mga Kuwento ni Lola Basyang still remains to be one of PETAs most-loved productions. Featuring stories from Severino Reyes folktales, Prinsipeng Mahaba ang Ilong, Ang Babaeng Tumalo sa Mahal na Hari at Prinsipeng Duwag Mga Kuwento ni Lola Basyang presents different mythical stories about selfdiscovery and values formation. In August, PETA celebrates the 20th anniversary of the Declaration of the Rights of the Child through its presentation of Ismail at Isabel (Ang Paghahanap ng mga Bagong Kuwentong Bayan), a moving story about two children, a Christian and Muslim, who once lived happily in their small village in Dilangawen, Mindanao. Blind to their differences, the two told and retold the folktales that narrate the

likeness of Muslims and Christians until the fearsome war reached their community and permanently broke their innocence. In time for the 2010 elections, PETA creates a vaudeville style musical, Boto-boto-boboto-bonanafanna-fo-foto-fee-fy-momoto-boto (BOTO Another Musical), that uses iconic characters of the Philippine electoral process: Lorrie Logarta, Chix Pedero, and popular terms such as trapo, ispits (speech) and many others. The story, cast with 10 actors with interchanging roles and characters, also follows the electoral process, beginning with the voters registration and ending with the need for vigilance after elections. The four productions, which officially begin on June 2009, also commence PETAs renewed commitment to artistic excellence as it cradles a peoples culture through its use of theater that is distinctly Filipino.

http://peta1.wordpress.com/

http://www.palancaawards.com.ph/

Carlos Palanca Memorial Awards for Literature History The Carlos Palanca Memorial Awards for Literature was established in 1950. The heirs of Don Carlos Palanca, Sr. thought it fitting that his memory be commemorated in an endeavor that would help enrich the country's cultural heritage. The aims of the awards have been: 1. To help develop Philippine Literature by providing incentives for writers to craft their most outstanding literary works. 2. To be a treasury of the Philippines literary gems from our gifted writers and to assist in its eventual dissemination to our people, particularly the students.

The awards started with the Short Story category in English and Filipino. Through the years, as the awards elicited overwhelming response, new categories were added: One-act Play in 1953, Poetry in 1963, Full-length Play in 1975, Essay in 1979, Novel in 1980, Short Story for Children in 1989, Teleplay in 1990 and Screenplay in 1994. In 1997, three categories were opened. These are the Iluko, Cebuano and Hiligaynon Short Story in the Regional Languages Divisions. To encourage writing by our youth, the special Kabataan Division made up of the essay category in English and Filipino, was opened in 1998. In 2000, a new category was added Futuristic Fiction, a separate genre of the short story that involves a looking beyond into the future to transcend the boundaries of the present. And in the year 2009, two new categories were added Poetry for Children in the English Division and Tulang Pambata in the Filipino Division, to encourage both aspiring and veteran Filipino writers to focus their attention to crafting masterpieces that will mold children's sense of nationalism. At present, the Carlos Palanca Foundation already has, in its collection, 527 short stories, 366 collections of poetry, 208 essays, 344 one-act plays, 182 full-length plays, 60 teleplays, 54 screenplays, 148 stories for children, 34 futuristic fiction stories, 77 student essays, 36 novels, and 16 collections of poetry for children. These works are compiled and made available to all researchers and lovers of literature at the Foundation library and its official website, www.palancaawards.com.ph. The winning works for the first twenty years of the awards were printed in anthology form in 1976, 4 volumes in Filipino, Isang Kalipunan ng mga Nagwagi sa Carlos Palanca Memorial Awards, 1950, 1970 and 4 volumes in English, An Anthology of Palanca Memorial Awards Winners, 1950, 1970. The books were distributed to public and private colleges and universities all over the Philippines through the National Library. These were followed in 1990 by the printing of Antolohiya ng mga Nagwaging Akda, Dekada 80, three separate compilations of Dulang May Isang Yugto, Maikling Kuwento and Tula which were published in cooperation with Anvil Publishing, Inc. In the year 2000, another publication, An Anthology of Winning Works, the 1980's came out. It was three separate compilations of One-act Play, Short Story and Poetry. For the benefit of students and researchers outside Metro Manila, especially those in the provinces, book-bound photocopies of the Maikling Kuwento from 1993 to 1997 were donated to universities and colleges nationwide.

The writings are available in the Foundation Library and in schools all over the country. These works stand out in literary form, style and message. Students researching Palanca Award winners as part of their class requirements learn not only the correct forms of writings but also glean from these works the moods and aspirations of our country and our people. In 1975, eight award-winning plays were produced and presented to the public at the Little Theater of the Cultural Center of the Philippines and culminated with a presentation at the Luneta Grandstand. The Palanca Hall of Fame was established in 1995 and is presented to a Palanca awardee who has achieved the distinction of winning five first prizes. There are now 22 Hall of Fame awardees. In 1996, the Palanca Awards began conducting Creative Writing Workshops. Dramatic readings of award-winning works have also been presented in colleges and universities. The citations and awards conferred to the Palanca Awards are:
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Tanging Parangal in the Gawad CCP para sa Sining in 1992 Gawad Pambansang Alagad ni Balagtas by the Unyon ng Manunulat sa Pilipinas in 1993 The UNESCO, in the celebration of its 50th years in 1995, included the Palanca Family and the Palanca Awards in the UNESCO List of Living Human Treasures of Artists, Writers and Artisans Plaque of Appreciation from the Philippine Board on Books for Young People for its unstinting support for the promotion and development of children's literature in the Philippines in 1995 Anvil Merit Award in 1997 CCP Centennial Honors for the Arts, in 1999 Gawad Tanglaw ng Lahi by the Ateneo de Manila University in 2001 Special Citation for the Carlos Palanca Memorial Awards Anthologies by the Manila Critics Circle in 2001 Appreciation to the Carlos Palanca Foundation for its Scholarship Grant in Creative Writing by the University of the Philippines in 2002. Gawad Pagkilala by the Komisyon sa Wikang Filipino in 2004

Born from a simple dream made 61 years ago to help develop Philippine literature, the foundation holds steadfast to its mission of providing nourishment for the national spirit.