By SHERWIN DE VERA
www.nordis.net

BAGUIO CITY — A show that serves as a reminder of the significance of indigenous culture “in surviving a world that is going out of balance” is how National Artist for Film Kidlat Tahimik described the play Macliing.

After more than three decades, Baguio artists, led by Dap-ayan ti Kultura ti Kordilyera (DKK), brought Malou Jacob’s masterpiece, retelling the struggle of the Cordillera people against the Chico River Dams Project funded by the World Bank, back on stage.

For two consecutive nights, people from and outside the country’s Summer Capital filled the University of the Philippines Baguio’s Himnasio Amianan to the brim for the play.

“In these kinds of shows, we are combining a lot of elements from all over the world. But I think what struck me the most was the finale,” Kidlat said in mixed Tagalog and English.

“(W)hen the gangsa (Cordilleran gong) came out, it gave me goosebumps. I think that is the most original way of ending a play, with our own,” he added.

The performance was concluded with a pattong, a traditional dance of the Cordillera, to the rhythm of the gongs. Chants for the Cordillerans to rise and protect their ancestral lands and way of life ensued after this.

The play brings the audience to Macliing Dulag’s community in Bugnay, Tinglayan, Kalinga, where the villagers recalled their life-and-death fight against the dictatorship’s dam project eight years following the murder of the Kalinga pangat (tribal leader).

Macliing of the Butbut tribe is one of the outspoken leaders of the anti-dam movement. He was assassinated on April 24, 1980, by government soldiers under the command of Lieutenant Leodegario Adalem of the 44th Infantry Battalion. His martyrdom is now commemorated annually as People’s Cordillera Day.

The production’s author used the community’s story—which began when a changya (a ceremonial plant) appeared on the pangat’s grave—to show how state authorities abused the people. The man-aalisig (a spiritual leader) weaves their stories of anguish, grief, resistance, determination, and triumph in pursuing justice and defending their ancestral lands.

“About Macliing, from Macliing”

“This is a play about Macliing and by Macliing,” said Jacob during the open forum at the end of the December 3 performance.

“Everything that you have seen here came from him—what he said, what he did. I just put it together and structured it, but this is really Macliing,” the multi-awarded playwright added.

Jacob recalled that the news of the pangat’s death kept her from sleeping, and writing the play has always been her outlet. She said, ” I always had to write the play because otherwise I would not be able to sleep.”

She also expressed pleasure in knowing that some of the performers came from Macliing’s tribe and met members of his family during the show.

Cultural worker and Butbut tribe member Ammin Acha-ur, who played the part of Macliing’s wife, Apo Samun, said it was an honor to be part of the play.

“When I found out about the casting for Macliing, I really wanted to do the play. Because in our tribe, Macliing is known, but it would be even more fulfilling for us if his past achievements were recognized. Who he fought against and why he fought,” the 25-year-old mangwhawhato (traditional tattoo practitioner) told the audience.

“And I am one of the younger generations who grew up not knowing much about what Macliing fought for back then. Now that I am in the play, I (feel) so fortunate to be part of Macliing Dulag’s tribe,” she said.

Community Theater

Director Karlo Marko Altomonte described the play as “community theater at its best.”

Igorots from different Cordillera provinces comprised most of the cast. Meanwhile, performers who do not belong to any group in the region are advocates of indigenous peoples rights.

In his note, Altomonte recalled how the staging of Macliing brought together groups and individuals not only to perform but also to learn and help each other, from their theater tasks to preparing their food for the rehearsals.

“While working with a mostly non-professional cast does have its challenges, with those comes something I absolutely love seeing on stage – authenticity,” he said.

“Many of them didn’t need to learn the movements to a community dance; they have danced those dances just as they have chanted those chants and have had to defend their land and their way of life all their lives,” the director added.

In its message, DKK thanked all those who provided support for the event, which not only revitalized its cultural significance but also allowed the group to “weave its narrative into the fabric” in the contemporary period.

“We recognize the weight of the responsibility that comes with presenting a play that holds such a pivotal place in the annals of political and historical discourse, even more so when DKK and its network, the horrors and modern rendering of Martial Law are lived experiences,” the group said.

DKK, in partnership with the Cordilleran Youth Center and Open Space Productions, made the remounting of the play possible with support from the National Commission for Culture, the Arts, and Voice. Artist groups Salidummay led the music pool, and Sulong Likha took charge of the production design. # nordis.net