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PETA Mekong Partnership Programme: Performing for children, health and gender justice**

2011-08-18T10:16:00.003+07:00

“Our work reflects our identity. The image that reflects from our dance piece—we can use to reflect our society,” says Purtiruk Songklib, a member of New Dance Theater in Thailand . He is a mong the growing number of artists from the Greater Mekong Sub-Region joining the Philippine Educational Theater Association (PETA) Mekong Partnership Programme’s community of social performers. From the theater artists of Thailand to contemporary dancers of Vietnam and China- they all gather together to share traditional and contemporary techniques and learn new artistic forms.

But beyond honing their artistic capabilities, the Programme is tasked to turn their creative energies into a potent tool for social advocacy. “Before joining PETA, I always thought of the artistic perspective,” says Nguyen Hoang Tung, an actor from the Youth Theater in Vietnam .

Crossing National Boundary
It was in September 2004 that PETA crossed its maritime borders to embark on a pilot Programme among performing artists in the culturally diverse yet largely impoverished Greater Mekong Sub-region.

The Programme has since established projects that have facilitated crossborder exchange, capacity building and partnership among the Mekong performing arts communities. It has explored ways of using the creative environment for learning and advocacy.

At the onset, the PETA Mekong Partnership Programme partnered with the Rockefeller Foundation to mobilize performers around the issues of gender, sexuality and HIV/AIDS. Beginning in March 2009, PETA has forged partnership with Save the Children-UK’s Mekong Cross Border Project and later with Terre des Hommes Germany to promote the rights of children in the region.

Thus far, the Programme has reached all six countries comprising the Mekong region- Cambodia, Laos, Myanmar, Thailand, Vietnam and China‘s Yunnan Province—with varying degrees of collaboration and assistance. It has supported about 27 performing troupes across the region, trained some 200 performing artists and 400 children and youth, reached out to 180 adult artists and media practitioners, and has put on shows for an estimated 80,000 audiences.

The Laboratory
The Mekong Performing Arts Laboratory is a key component of the Programme. It is an ambitious and bold experiment in combining various performing arts and disciplines with advocacy theater to create fresh works with seven cultures at play, including that of PETA’s home country, the Philippines .

The Laboratory is an inter-cultural exchange and capability building programme component that provides interactive processes for artists to learn various social issues and explore ways to present them onstage. It is a three-week intensive training course designed to help artists understand how theater may be used for advocacy and how they can strengthen their artistic and organizational capacities for campaign.

“Creation of successful advocacy art is very much grounded in the understanding of the issue and its translation into a fine aesthetic expression,” says Maribel Legarda, Laboratory Artistic Director.

Each Laboratory culminates in a showcase-recital of the new works performed before an audience numbering from 300 to 4,000. Outstanding works could merit support for future public performances, including community mobile tours.

Adult leaders and children’s rights advocates from various agencies in Mekong countries in an intensive 10-day workshop on Child Protection work using PETA’s Creative Pedagogy co-organized by Save the Children with support from the European Union.

In all, five Laboratories have been conducted in the Greater Mekong Sub-region, bringing together different mixes of disciplines and practitioners such as artistic leaders (directors, playwrights and choreographers), performers (actors, dancers, musicians, puppeteers), and managers. Scholars and development workers have also joined the Laboratories.

Technical and Financial Support
Through the Arts for Advocacy Fellowship, the PETA Mekong PartnershipProgramme extends financial and technical support to performing artists and groups engaged in advocacy (e.g., community mobile performance tours), education (through productions and events), and outreach exchange programmes (e.g., repertory theater guidance, artist exchange projects).

Young artists and youth leader-advocates from Mekong and the Philippines join hands in building dreams and imagining a better society.

Over six years, PETA has provided assistance for the following new bodies of work:

- Thirty- nine new short performance piece developed in the Laboratories.
- Twenty six full-blown productions performed before various audiences.
- Four short plays about women piloted and performed in Thailand . Four new works were written and translated into three languages. These works were read in play reading sessions by artists and students.
- Four murals on the theme of domestic violence and relationships painted by Cambodian and Thai artists.

Impact
For Mao Kosal, former executive director of the social circus group, Phare Ponleu Selpak of Cambodia , measuring the impact of performances on audience behavior is always tricky. “Normally the audience would not understand, but we try to give them the message. Audiences always accept the show…but if you interview the community, they do not know how to say. They just say, ‘good show and with education,” Kosal says.

Measurable changes, however, have been noticed in the community. “Around the center, there were a lot of problems in this poor community,” Kosal explains, adding that there used to be a lot of brothels, street gangs and problems related to drug use and violence. Now the community has changed, he explains, not because of formal education but because of education through art.

In the Rapid Appraisal of the PETA Mekong Arts Programme in 2007, Dr. Rosalia Sciortino, the incumbent Regional Director of the International Development Research Centre, concludes: “PETA has been successful in overcoming the challenges of integrating differences into a pluralistic, yet united, Mekong art community core.” This holds true today as participating groups continue to interact in various ways, learning from each other’s differences. The network has served as a crucible to sharpen perspectives, hone skills and form a movement of artists for the vast and diverse Mekong region.

** This article was first published in “Spaces To Be”, a publication produced by Terre des Hommes Germany . Reposted with permission.

Weaving Culture, Weaving Lives”: The 2009 Mekong Arts and Media Festival in Phnom Penh (*Abridged version)

2010-05-06T14:19:00.011+07:00

During the first Mekong Performing Arts Laboratory in Manila in 2005, I asked the question why Manila-based PETA was chosen to run a program that deals with the peoples and cultures of the Mekong sub-region, which covers such ethnically and culturally diverse countries as Cambodia, China, Lao PDR, Myanmar, Thailand, and Vietnam.

Towards the end of 2009, the fifth year of PETA’s handling of this program, the answer to that question has become much clearer to me. PETA has been using its special blend of talent, skill, and experience to develop artists to work in the communities they are part of.

They provide hands-on help in building a network of artists from across the Mekong sub-region that is multicultural, transnational, creative, energetic, interactive, and starting to show signs of being self-sustaining.

My participation in the 2009 Mekong Arts & Media Festival showed that not only does PETA have a long history of organized advocacy theater and strong management skills, it also has more things to offer to participants from the Mekong sub-region that they can use in their own work, and which indeed they have done during the last five years. The fruits of their labor and collaboration with artists and others from Mekong and beyond were ripe at the 2009 Festival in Phnom Penh.

As a fitting opening, the festival began with a parade of young artists, showing through their classical music and dance, and guiding a gigantic naga (Sanskrit and Pāli word for a deity or class of entity or being, taking the form of a very great snake—specifically the King Cobra, found in Hinduism and Buddhism) and two big elephant puppets, along with a real and famous Phnom Penh elephant parading through the Cambodian capital. The artists also showed circus talent and exciting music for the general public. The whole festival was interspersed with various art exhibitions, circus shows, classical dance pieces, and international events from six countries bordering the great Mekong River and other countries from Asia.

All the youth programs were run by young people who brought leadership skills given them by their work with PETA in the last five years, while artists from different countries shared new techniques and knowledge, and collaborated with these young people on stories, arts and experiences.

The Festival brought the city of Phnom Penh to life in great spirit, and energized the streets and the people with joy through the power of the youth. Most of the local kids attending the Festival came from the Phare Ponleu Selpak in Battambang.

As I worked in the formal Festival conference and observed the other activities, I saw and listened to diverse artists and scholars from Japan, Cambodia, China, Myanmar, and Thailand as they showed their work and shared their innovative ways of creating and collaborating with their communities.

Around 270 delegates came to this festival to perform and share their art, knowledge and progress in their thinking and form; many were involved in the previous laboratories. Many of them learned from the laboratory the importance of good management to create an environment for creating dance, theater, and puppet performances that would inspire society, provoke questions even as they entertain audiences.

After working for five years with PETA, the confidence and abilities of these artists-cum-managers have matured considerably. Most of the young artists – especially those from Phare Ponleu Selpak – have become full-grown teenagers or young adults and are now strong circus artists. During the festival, these artists inspired each other and most clearly learned from and shared with each other.

I now realize the benefits of PETA’s involvement in the Mekong Partnership Project better. PETA works through others. It also gives opportunities for young artists to grow and learn from senior artists about channeling inspiration and creativity with discipline and management to do arts projects that are both fun and suit their local audiences.

Most aspects of the projects deal with young people as artists collaborating in workshops aiming to promote self-esteem, empowerment and health education needed in communities along the Mekong river. They also share ways of fundraising and managing the organization to promote and clarify the needs and works of the artists and their communities, helping to make other people become aware of their work.

It was wonderful to see the various peoples of the Mekong sub-region mingling together through the support and care of PETA which also saw the value of opening up the festival to artists from Singapore, Indonesia, and Japan. We know that creating a self-sustaining partnership takes time, and PETA has laid the foundations of doing just this.

The hard question “why PETA for the Mekong?” has also another answer. The program and the participants benefited from the activities and the laboratories and the festival provided them a distinctive blend of PETA’s passion for the arts, its sincere and deep concern for others, its practical set of managerial and organizational skills, and its outsiders’ look and international perspective.

When we are seated together in a room, we don’t know and don’t deal with who is part of and not part of the Mekong sub-region, since we all are part of a common working process aiming to improve the lives of those in the Mekong area through better creativity, organization, and inspiration.

*This is an abridged version of an article with the same title that forms part of a publication summing-up Peta Mekong Partnership's five year work in the Mekong Subregion.

Photos by: Ludovic Gueriaud and Phoonsab Thevongsa

The Festival was made possible with support from The Rockefeller Foundation, Save the Children-UK through the European Union, and Japan Foundation with additional scholarship support from Terre des Hommes-Germany, Heinrich Boell Foundation, Center for Community Health Research & Development, and World Vision.

Arts and Creativity in Child Protection Work

2009-11-04T23:31:00.001+07:00

By: Brian Jungwiwattanaporn

In August, PETA in partnership with Save the Children UK’s Regional Cross-border Project held the 1st Regional Leadership Course on Child Protection. Thirty-three participants from seven countries working in the Greater Mekong Sub-Region met in Nakhon Nayok, Thailand to engage and discuss the various cases of child protection in their own countries.

Chosen as one of the participants of this conference, I was able to work with community NGO staff members, government officials and Save the Children staff from Cambodia, China, Laos, Myanmar, Thailand, Vietnam, and Pakistan in a ten-day transformative experience. Together, we developed our skills and understanding in promoting the protection of children using PETA’s methods and learning techniques, discussing children’s issues while creating art and synthesizing information on child protection and exploring various art forms – using drama, dance, visual arts and sculpture along with other techniques to explore our own stories as well as the stories of the children we work with.

The training consisted of 6 modules which required us to explore the situation of children in the region: covering topics on childhood and children’s rights, child protection, building child protection systems and improving our work on protection. We also examined child protection in Thailand through field visits to organizations dedicated to helping children and migrants. Over the course of the training and after several presentations and group work, we became deeply involved with the issues.

In the process, we were able to unlock our inner-child and release our creative spirits. Many participants, just like myself, also commented on how we enjoyed learning new tools with which to engage children and their communities.

Aside from our personal discoveries, we were also focused on weaving together the story of children in the Mekong region: discussing the lives of children in our own countries, the similarity of the difficulties facing children across the area and the gaps of the various protection systems that eventually led to a dialogue on what participants could do to start overcoming and addressing these issues.

There were further sessions on topics ranging from child abuse, corporal punishment, stateless children and children in emergencies. These were followed by a session on creating an advocacy plan to support children at a national level. Underpinning these activities were the understandings reached by the participants through their involvement in PETA’s art activities.

Outside of the main curriculum, we were also able to gain practical skills and techniques in story-telling while using different mediums such as photography, videography, and shadow-theatre which enabled us more to effectively tell stories on child protection as well as provide children with the creative tools to tell their own stories.

At the end of the training, the event experienced one of its highlights as Ernie Cloma, Associate Curriculum Director of the Philippine Educational Theater Association received the Child Protection Champion award from Save the Children UK’s Cross-border Project. For over 40 years, Tito Ernie, as many would call him, has passionately conducted integrated theater arts workshops for disadvantaged children in the Philippines and abroad–inspiring many of us to do the same, to become instruments and channels for the protection and promotion of children’s rights in our own communities.

The closing ceremony brought together new friends as we shared traditional songs and dances throughout the region. Possessing new knowledge and skills, exposed to PETA’s pedagogy and supported by a new network of like-minded people, we have benefited greatly from PETA and Save the Children UK’s first leadership training.

As the project came to an end, it was possible to see the personal growth that many of us had felt, and as we bring this experience back to our communities, hopefully, stronger child protection systems will start to grow throughout the communities and across the region.

Brian Jungwiwattanaporn has spent the majority of his career working for children as a school teacher. He has taught primary school at an urban school district in the United States, a rural school in Bangladesh, and special education in Thailand. He is currently the Regional Cross-border Information Coordinator at Save the Children UK where he supports efforts to create child protection systems in the region.

Mekong Arts and Media Festival 2009 Complete Details and Information

2009-07-19T13:24:00.002+07:00

MEKONG ARTS AND MEDIA FESTIVAL 2009

ABOUT THE FESTIVAL

The Mekong Region holds the remarkable distinction of being one of Asia’s cultural lifeblood. The interesting cross-cultural diversity of the six countries that make up the region: Cambodia, China, Laos, Myanmar, Thailand and Vietnam and the rich mix of history and art provide for a great backdrop for organizing the Mekong Arts and Media Festival 2009 which will be held on November 23-27 at Phnom Penh, Cambodia.

Organized by the Philippine Educational Theater Association – Mekong Partnership Program in conjunction with Phare Ponleu Selpak, Save the Children-UK, and Center for Community Health Research and Development, the Festival is seen as an opportunity for artists, media practitioners, cultural workers, and key players in development work to showcase and exhibit creative works that have contributed to the development of new, innovative forms for social advocacy and transforming communities.

The Festival is a five-day event that will converge the diverse cultures and various art and media forms of Mekong. During the Festival, the Arts and Media groups and communities will go center stage and present the range of forms and creative expressions that they have been continuously developing for the past years as alternative tools for social advocacy.

OBJECTIVES

The Mekong Arts & Media Festival seeks to:

1. Showcase and celebrate the bodies of works (theater performances, visual arts, short films, video stories, photos and other forms of creative media) that have been produced in the sub-region and were used as transformative tools for advocacy and development.

2. Give local people greater voice by bringing together Mekong artists, cultural workers, media practitioners, and key players in development to discuss, share and compare experiences, learning and insights about their crafts and skills across different areas and disciplines;

3. Provide venue and facilitate the interaction of artists and media practitioners as actors in the process of social transformation with other stakeholders in development;

4. Create a venue that will inspire, encourage and facilitate creative thinking amongst people to develop new innovative strategies for consciousness-building and development work in the sub-region;

5. Promote greater public awareness of the sub-region’s various cultural and development issues to local and international audiences;

6. Advance network links and inter-institutional collaboration and identify new areas and forms of partnerships.

FESTIVAL ORGANIZER

The Mekong Arts and Media Festival 2009 is organized by the Philippine Educational Theater Association’s Mekong Partnership Project, Phare Ponleu Selpak, Save the Children UK, and Center for Community Health Research & Development. These organizations have already been involved in the development of capacity-building programs utilizing the different creative spaces in the Mekong region, which consequently afforded the creation and development of materials and performances that delve into the challenges of development, modernization and integration in the fast-changing region. The festival is just one of converging points for all these efforts.

The festival is made possible with the support of The Rockefeller Foundation, European Union, Japan Foundation, and Heinrich Boell Foundation-Southeast Asia.

FESTIVAL PROGRAM

CONFERENCES

The conference is the venue for academic and cultural exchanges and discussion of the various experiences and insights on the involvement of artists, media practitioners and institutions in addressing the need for developing relevant alternative media for advocacy and development. Selected interest groups will be organizing conferences on specific themes and topics, e.g. Children’s Rights, Arts and Media for Development, etc.

WORKSHOPS

The workshops are designed to provide dynamic spaces for exchange of various artistic and technical skills and practices on the different fields of arts and media. The following are the skills-based workshops:
• Circus
• Shadow Theater
• Puppetry
• Dance
• Visual Art
• Creative Storytelling for children
• New Media
• Mainstreaming Advocacies through Visual Communication

PERFORMANCES

Selected groups/organizations will showcase on-stage and off-stage pieces in styles ranging from traditional to contemporary and avant garde performances. Twilight performances will feature sketches, improvisational acts, monologues, puppetry, storytelling sessions, poetry readings, and other compact performance pieces. It also serves as an open/“shoutout” space for festival delegates where output from workshops or other improvisational pieces may be performed.

Evening performances will showcase performances that have been originally conceived in previous theater/arts laboratories and have already been performed in various countries/locations. Featured performances will exhibit the different art forms and collaboration work of the various participating groups in the festival.

Schedule of performances, film showing and “twilight” features will be posted around the Festival area.

FILMS AND VIDEOS

Various themes and forms ranging from documentaries, video stories, short films and feature films discussing the issues of the Region will be shown. Special features include award-winning documentaries on the people and culture of Mekong and films by internationally-acclaimed filmmakers.

VISUAL ART AND PHOTO ESSAYS

Featured works by selected visual artists, photographers around the region will be exhibited in special venues. Concept exhibits will tackle specific sectors or issue in the GMS such as Children’s Rights, Gender and Sexuality, Poverty, migration, etc.

SPECIAL EVENTS

Opening Parade and Ceremony

The activity will celebrate the confluence of cultures and nationalities through a parade of the various presenting/participating groups. The parade will also feature fundamental elements and icons of the Khmer culture and tradition as a special recognition to the people of Cambodia for hosting the festival.

Welcome/Opening Reception

The event is a Welcome Banquet that will officially commence the Festival. The organizers have invited a Guest of Honor to officially Open the Festival and welcome the participants.

Mekong Arts and Crafts Village

A festive market will be set up to showcase the different artworks, colorful wares, crafts and products of the various groups from the GMS. A Special section on Books and Publications will be set up to feature various publications on arts, media and development in the Mekong sub-region.

(A limited number of spaces for selling and exhibits are available for institutions, publications, organizations and other interested individuals. For inquiries, please contact the FESTIVAL SECRETARIAT.)

Closing Reception

The event will be the sending-off celebration for the participants of the Festival which highlights two elements: the commitment pact and the turn-over. The symbolic pact centers on the participants’ commitment to be actively involved in and pursue the integration of arts in the development process by continuing to support the development and building of creative communities in the sub-region. The symbolic turn-over will represent the cross-generational exchange by symbolically opening the door for the involvement of the children and youth sector in the development process. A special creative performance followed by a special community celebration will cap the event.

Tours

Tour packages will be arranged during workshop hours. Participants who will join the Tour/ exposure trip will be grouped into 10-15 members each. Participants will be treated to a visual feast of Cambodian culture and history. Social Events and activity may happen during the tour/visit.

*Performances, film showings and exhibits are open to the public. For some shows/performances, tickets will be sold at the event site.

NOTE: The Festival Organizers are still accepting proposals for presentations for live performances, video/film showing, visual art/photo exhibits, and other special events. Please submit your proposals with sample works (video and synopsis) to the Festival Secretariat (mekong.artsfest2009@gmail.com)

For workshop proposals:
Delegates and any interested party can propose to facilitate/conduct a workshop class. Proposed workshop classes should be 2-3 hours long. Workshop hours are between 1:00 – 4:00pm. Please provide written description of the proposed workshop class. For more details and other inquiries, please contact the Secretariat.

THE CHILDREN AND YOUTH BLOC

The Children and Youth Bloc is one of the highlights of the Festival. It will showcase bodies of works done by the children and young people of the Greater Mekong Sub-region (GMS). The bloc is organized in collaboration with Save the Children UK (SC-UK) and gives special emphasis to children and young peoples participation in development work done in Mekong.

An extensive range of integrated theater arts activities is designed to help consolidate and make into tangible expressions the various stories, aspirations, and views, of the young people from Mekong on the current social realities and the problems that directly affect them. It hopes to capture the various issues experienced by the children and young people of Mekong brought about by the ongoing regional integration and modernization through various arts and media forms.

The activities of the bloc will parallel the general events of the Festival. The Children and Youth Bloc will have its own schedule and set of performances, conferences, workshops, exhibits, video/film showing and other special events.

The Children and Youth Bloc activities was designed with the help of PETA’s own children and youth Programs: the Children’s Theater Program and the Metropolitan Teen Theater League (MTTL). The children and young people delegates from various communities of the GMS will have their own forum and together learn artistic skills to come up with their own artistic output that will speak of their own stories and aspirations.

Walking Through Faces (Hallway Photo and Poetry Exhibit)
Where We Are (Individual/Group Performances)
Sharing Spaces (Interactive Improvisations)

REGISTRATION

WHO CAN PARTICIPATE?

The Festival welcomes Mekong artists, media practitioners, cultural workers, students, drama/theater teachers, advocates, public officials, and development workers who are willing to showcase and exhibit works, share lessons and experiences, learn technical skills and strategies in using various forms of arts and media for education, advocacy, development work, and transforming communities in Mekong societies. It is also open to other nationalities willing to contribute, learn from, and explore the various possibilities of how arts can be integrated into the whole development process.

Interested individuals/groups can participate as:

Regular Delegate. Regular delegates have access to all festival events e.g. conferences, workshops, exhibits and performances and are expected to participate in all activities either as performers, presenters, resource speakers, workshop facilitators, participants, etc.

Observer. Observers will be given day passes/tickets and are allowed to attend only a list of selected workshop/s, seminar/s and festival activities. Arrangements can be made with the Festival Secretariat for advance registration in chosen activities.

Media Representative. Interested journalists and press institutions who would like to cover this regional event may also come and register as official Media Representative. Limited scholarship slots shall be offered to journalists and other media practitioners in each country. A Media Press Room shall be set-up as press hub and working space. See Registration for requirements and application process.

HOW TO REGISTER

Online: Fill out the Registration Form with your complete personal information, contact details, participation preference and your chosen mode of payment, then click submit.

Fax/E-mail: You can download the Registration Form (pdf/doc file) and provide the necessary personal and contact details. Send it through fax (66-2) 9307851 or via email to mekong.artsfest2009@gmail.com.

DEADLINE of application and payment for REGULAR REGISTRATION is on OCTOBER 16, 2009.

Discounted rates shall be offered to EARLY REGISTRANTS if application and payments are submitted on or before AUGUST 31, 2009.

ONSITE REGISTRATION is also accepted. We require onsite registrants to book their own hotel and submit application on or before November 6, 2009.

REGISTRATION CONFIRMATION. Official notices will be sent through post or email within ten (10) working days after receipt of the payment and filled out registration form.

On-site Registration:
Delegates may still register on-site as early as November 21, 2009 (8:00 am– 5:00 pm) at the Chaktomuk Conference Hall, Preah Sisowath Quay, Sangkat Chaktomuk, Khan Daun Penh, Phnom Penh, Cambodia.

REGISTRATION FEES

PACKAGES EARLY REGISTRANTS REGULAR REGISTRANTS ON-SITE REGISTRANTS
REGULAR DELEGATE Before August 31, 2009 September 1 – October 15, 2009 11/21-22/09
Inclusive of
- Food for 5 days (Hotel lunch, Dinner, Opening & Closing reception)
- Festival kit & Tokens
- Access to all events & performances
- Translation services
- Airport & Inland Transportation USD 550.00 USD 650. 00
USD 750. 00

OBSERVER
DAY PASS
Inclusive of:
- Festival Kits
-Access to the day’s events
-Food (Hotel Lunch,Dinner)
- Translation services -- USD 150.00 USD 150. 00
TICKETS FOR SELECTED PERFORMACE/ SHOW/ EXHIBIT --
-- Amount is per show/session. Contact Festival Secretariat for details.

The Registration fee does not include Hotel Accommodation. Discounted hotel rates are available if you book through the Festival Secretariat. Please indicate in your Registration Form and contact the Secretariat if you wish to avail of this privilege.

SPECIAL DISCOUNT

To encourage participation from the children & youth sector, the Festival Organizer is offering a special discounted rate of 20% less of the Registration Fee to:

- Official delegates belonging to the Children and Youth Bloc
- Students not older than 24 years old and currently enrolled in school/University. A student ID and School endorsement to participate in the Festival are required to avail of the 20% discount.

A special 10% discount shall also be offered to senior citizens (60 years above) and group registration of not less than 10 people. Please e-mail the Secretariat for group registration arrangements.

MODES OF PAYMENT

All monetary transactions are in US Dollars. Payments can be made through:

7. WIRE/BANK TRANSFER

Bank Name: UNION BANK OF THE PHILIPPINES
Bank Address: 677 Aurora Boulevard, near Broadway Centrum, New Manila, Quezon City, Philippines.
Bank Contact #: 412-3484 and 416-5329
Account Name: Philippine Educational Theater Association, Inc.
Account #: 009-101-00188-4 (US Dollar Savings Account)
Type of Currency: US Dollars
Swift Code: UBPHPHMM

8. Cash – for late/on-site registrants and Day Pass delegates only. Cash payments will only be received by the official Festival Finance officer.

FINANCIAL SUPPORT

Full and partial scholarship support shall be provided to a limited number of delegates from the member countries of Mekong. The Support is inclusive of travel airfare and taxes, visa fees, board and lodging, registration fees and travel insurance.

To apply for FULL OR PARTIAL SCHOLARSHIP, please submit:

• One copy of updated Curriculum Vitae
• 2 sample works (for performers, please provide photos and videos of your performance)
• Two (2) Recommendation Letters from any legitimate arts and media institutions in the sub-region
• Filled out Scholarship form

For Media Representatives applying for scholarship, please submit the following requirements:
• One copy of updated Curriculum Vitae
• Photocopy or scanned copy of Official Press ID
• 2 Sample works (news articles/feature with byline and/or clips of TV coverage)
-Published article written in the local language with English translation
-Published article written in English
• Letter of Recommendation from your Editor (should also indicate the Festival as the participant’s official assignment)
• Letter of Recommendation from any legitimate local media institution in the sub-region
• One copy of draft pre-event feature article on Mekong Arts and Media Festival 2009. Please provide an English translation if article is written in your local language.

Deadline of applications is on AUGUST 14, 2009. Announcement of accepted scholars will be on August 21, 2009.

The Festival Steering Committee continues to raise funds to support more scholars from the sub-region. We can only pledge scholarship to a limited number of artists and media practitioners. We, therefore, encourage other interested individuals and groups to raise their own funds to cover the expenses needed for their participation in the Festival. We appreciate any contributions, donations, and sponsorships to increase participation of children & youth and those who may not have the means to participate in this Festival.

CANCELLATION AND REFUND

Cancellation of registration/application should be made not later than October 31, 2009. Send a written Request to Cancel Registration sent through email/fax addressed to the Secretariat. A thirty percent (30%) cancellation fee will be deducted from your Registration fee to cover Administrative and fund transfer costs.

If cancellation is made after October 31 and not later than November 16, Registrants will only get fifty percent (50%) of the Registration fee.

All fees shall be forfeited if cancellation is made after November 16, 2009.

FORMS

For a copy of any of the festival forms (registration, scholarship and accommodation) and other inquiries, please email peta_mekong@yahoo.com, mekong.artsfest2009@gmail.com

FESTIVAL SITES

SISOWATH QUAY is the street that stretches along the Tonle Sap River, where most Festival venues are located. The street will be the parade grounds for the Welcome event on the 23rd of November.

CHAKTOMUK CONFERENCE HALL is the main site of the Mekong Arts and Media Festival 2009. Most Festival events & major activities (e.g. Opening/Closing program, registration, plenary, theater performances, exhibits and bazaars) will take place in this area.

Address: (Theatre) Preah Sisowath Quay, Sangkat Chaktomuk, Khan Daun Penh, Phnom Penh 12207, Cambodia
Telephone: 855 (0) 23 982210, 855 (0) 12 994436, 855 (0) 16 935666, 855 (0) 11 926542

Link to: Designed by renowned architect Vann Molyvann, this venue was originally opened in 1961 as La Salle de Conférence Chaktomuk. Earmarked for redevelopment as a restaurant in 1991, it was brought back into use as a theatre in 1994 following the devastating fire at the National Theatre. The Chaktomuk Conference Hall was completely refurbished in 2000, primarily to provide international-standard facilities for conferences. Subject to programming it is still utilised from time to time as a theatre venue, but only for special programmes organised directly by the Ministry of Culture and Fine Arts.

For more details, please see www.chaktomukconferencehall.com

CAMBODIANA HOTEL is the venue for the Festival’s conferences, workshops, video and film showings. Delegates who are interested to stay in this hotel may book through the Secretariat to get lower rates. For the conference and workshop schedule, please click here.

Address: 313 Sisowath Quay,Phnom Penh, Kingdom of Cambodia.
Telephone number: (855) 23 218-189 / 426 288
Fax: (855) 23 426 392

Link to: Situated on the banks of the Mekong River and at the heart of Phnom Penh, the hotel provides its guests with unrivalled combination of comfort and convenience. With ready access to both tourist and business landmarks along with sweeping views of one of the world's great rivers, Hotel Cambodiana balances a proud sense of tradition with a commitment to maintaining its reputation for excellence.

The opening of Hotel Cambodiana in 1962 was of great cultural significance to Cambodia, reflecting the bold sense of optimism and vision that has revived international interest in Phnom Penh and Cambodia. Inspired to continue this legacy, the team at Hotel Cambodiana will ensure you the experience of the famous Khmer hospitality that inspires so many visitors to return time and again.
For more details, please see http://www.hotelcambodiana.com

IMPERIAL GARDEN HOTEL AND VILLA is one of Cambodia’s well-known residences for official meetings and gatherings. This November, Imperial Garden Hotel and Villa will serve as the main headquarters and residence of the Festival Secretariat and delegation.

PREAH PONLEA One of Cambodia’s highlighted festivals is the boat-raising/water festival. The Preah Ponlea is the special venue during these boat-raising events. It serves as the Royal podium where the King and most of the royal family observe the traditional water festival.

During the Festival, Preah Ponlea will serve as the Cambodian’s welcoming platform for the international delegation. This is also where some of the public and street performances will happen.

PREAH PARAMA RAJA VAING is the garden along the rivers, inside the Chaktomuk complex. This is the venue for many of the Festival’s special events (e.g. such as the Open-Air Receptions, Opening/Closing Ceremonies, Arts and Crafts Fair, select performances, Registration, etc.). This can also be an open space for spontaneous performances and art happenings.

NOTE:
Venues and schedules are subject to change.

ACCOMODATION

The Secretariat made arrangements with hotels (See List Below) near the Festival Sites to serve as official residence of the delegates at special rates. Please book through the Secretariat if you wish to avail of these rates.

Fill in and submit Accommodation Form together with the Registration Form. List of hotels and the exclusive festival rates*:

HOTEL RATES

HOTEL CATEGORY ROOM RATE PER PERSON
SINGLE ROOM TWIN SHARING
Golden Gate Hotel
 US $ 35.00 US $ 17.50
Regent Park Hotel

US $ 45.00 US $ 25.00
Imperial Garden Villa and Hotel

US $ 65.00 US $35.00
Hotel Cambodiana

US $ 80.00 US $ 45.00

* Rates are inclusive of taxes and buffet breakfast.

Most of these Hotels are located within walking distance, except for Golden Gate Hotel (10-minute drive), from Chaktomuk Conference Hall. All Rooms are equipped with standard facilities such as hot and cold shower, telephone, fridge, safety deposit box, cable TV and (internet access). Visit their website for further information about the Hotel.

Payment Guideline
Payments for Hotels can only be accepted through bank transfer. Please send your payment in full amount to the Festival Secretariat on or before October 16, 2009.

Confirmation of Hotel Reservation
All hotel reservations will be confirmed through fax or email within 10 days of receipt of the full payment. Should you encounter any problem with the hotel reservation or payment procedure, please contact the Festival Secretariat.

Early Departure or No-show
No refund shall be given for hotel payments if cancellation is made 2 weeks before check-in.

Checking Out
All participants are booked until morning of November 28. You are requested to check out and settle accounts by 12 noon.

The Festival organizers will not be responsible for participants who extend their stay for sightseeing and city tour and/or other purposes. Should you decide to stay longer, please inform the Secretariat and make the necessary arrangements.

Airport Transfer/Inland Transportation
The Festival Secretariat will arrange for Airport transfer service for your convenience. Please inform us of your flight details so we can make proper airport pick-up arrangement.

A shuttle/van service shall be provided for delegates staying at Golden Gate Hotel as well as for those with physical disabilities. Festival tuktuks shall also be stationed at major Festival points. The Secretariat will post regular announcements at Festival venue bulletin boards for schedule of transport services.

FAQs

1. What is the significance of this Festival?
The Mekong Arts and Media Festival is a pioneering and groundbreaking regional event that provides creative space not only for the sake of mastering an art form but to also create an inclusive, open and dynamic space for interaction and collaboration among creative communities of Mekong. The Festival does not advocate one specific method or genre for creative development. In fact, it goes beyond the forms and creatively pushes the envelope and presents questions and conditions that have social, political and cultural significance to the peoples of the Mekong region.
It further challenges us – the artists, media practitioners, cultural workers, and stakeholders of development to look past our creations and go beyond the borders of our immediate environment and take the opportunity to be part of the emerging social transformation of the Mekong region.
2. What will I learn from this festival?
Delegates will learn to appreciate and celebrate the diverse cultural milieu and forms, look back and reflect on its historical past, question and be critical of the ongoing regional integration, and recognize the local players and the cultural significance of their selected works in developing and transforming communities. Delegates will also learn to share experiences, skills and knowledge and take advantage of the opportunity to collaborate with other groups.

3. Is the Festival exclusive to artists and media practitioners?
The Festival is open to any individual or groups who are interested in the use of arts and media forms for transforming communities and societies. It is open to all who are working for the development and welfare of vulnerable groups and troubled nations in the Mekong region. It is most open to all those who believe in the power of creativity and culture as an entry point for societal transformation.
4. Can I (or my group) join the event as a presenter/performer and a participant at the same time?
All delegates are expected to actively participate in the activities. The festival organizers also highly encourage the presentation/showcase of various works and experiences while working for culture and development in the region through a performance, documentary or any chosen creative media.

CONTACT US

Festival Secretariat
c/o PETA Mekong Partnership Program
350/2061 Ratchada Chuanchom Mansion
Soi Ladphao 23, Ladphao Road, Chatuchak
Bangkok 10900, Thailand
Tel.: (66-2) 9092649
Tel./Fax: (66-2) 9307851
Mobile: (66-81) 9097459
Email: mekong.artsfest2009@gmail.com

Breaking Barriers, Converging Arts: The Arts and Media Festival 2009

2009-07-17T13:20:00.006+07:00

The Mekong Sub-Region composed of Cambodia, China, Laos, Myanmar, Thailand and Vietnam holds the remarkable distinction of being one of Asia’s cultural lifeblood. Its interesting cross-cultural diversity and the rich mix of history and art provide for a great backdrop for organizing the Mekong Arts and Media Festival 2009 this November 23-27 at Phnom Penh, Cambodia.

Organized by the Philippine Educational Theater Association – Mekong Partnership Program in conjunction with Phare Ponleu Selpak, Save the Children-UK, and Center for Community Health Research and Development, the Festival is seen as an opportunity for artists, media practitioners, cultural workers, and key players in development work to showcase and exhibit artistic works that have contributed to the development of new, innovative communication channels for advocacy and transforming communities. The Festival is also slated to be one of the highlights and culmination of PETA’s five-year engagement in mobilizing the creative communities in the region using the arts and other creative media as tools for advocacy and development work.

The Festival is a five-day event that will converge the diverse cultures and various art and media forms of Mekong. During the Festival, the arts communities will go center stage and present the range of forms and creative expressions that they have been continuously developing for the past years as alternative tools for advocacy and social transformation.

En route to a new path of meaningful expression by blending arts and media, the Festival hopes to cover the potential range of talents by providing venues for sharing of skills, techniques and building partnerships for collaboration. Delegates and visitors can expect performances, conferences of interest groups, workshops, visual arts and photo essays, short films and documentaries. Special events like the opening and closing parade will feature in full regalia the various cultural symbols and icons of the different countries in the Mekong Region. To get a taste of each culture, a Mekong cultural trade fair will showcase and sell various arts,crafts and products of the participating countries while respected individuals of the Asian art scene will also facilitate the different workshops. To preview what’s in store at the Festival, click this link http://www.youtube.com/watch?v=1OgVHPrnRYI.

Full and partial scholarships are available for groups and individuals who are nationals of the Mekong Region. For more details and information on the Festival program, schedule, registration fee and other particulars, please email Festival Secretariat at peta@truemail.co.th or mekong.artsfest2009@gmail.com.

The Mekong Arts and Media Festival 2009 is supported in part by The Rockefeller Foundation, European Union, Japan Foundation, and Heinrich Boell Foundation-Southeast Asia.

PETA Celebrates Children’s Month With a Theater Festival

2008-10-29T16:17:00.002+07:00

The fight for children’s rights has been a long one for the Philippine Educational Theater Association (PETA). Since its humble beginnings in the 80’s, PETA has been known to be pioneer and active guardian of the rights of the child – with its goal and mission to liberate and empower Filipino children through the arts. With theater arts education as its tool, PETA envisioned to create a safe, supportive and conducive environment wherein children grow to become creative, self-aware, resilient, critical and responsible citizens of the Filipino society. Because of this, PETA eventually formed its own Children’s Theater Program (CTP) which centrally dedicates its work in creating a good life for Filipino children.

As part of the program’s objectives, along with the celebration of the Philippines’ National Children’s Month and commemoration of the efforts done by PETA and its partners during the last three decades, PETA is hosting a National Children’s Theater Festival from October 24 - 26, 2008. A three-day event that aims to bring together different sectors of the society: government, students, professionals, non-government organizations and the civil society in an occasion that celebrates and recognizes the rights of children.

The Festival, titled “Likhang Bata, Likhang Buháy!” (Children’s Creations, Living Creations!) and themed, “Creating a Good Life for Filipino Children”, will be held at the PETA Theater Center. Other than showcasing the works done by PETA in the last three years, special performances that are centered on focusing the experiences and highlighting the creative outputs of children will also be presented. Aside from the presentations, there will also be a grand array of workshops, exhibits, conferences and other activities for the participants of the festivalActivities during the three days are catered specially to different age groups: Day 1 for young children 7 to 12, Day 2 for teenagers 13 to 17 and Day 3 for young adults who work with children. During the festival, children and adults are expected to gain knowledge of the rights of the child, as well a s discuss four rights categories: right to survival, protection, development and participation.

“The festival itself is PETA’s definition of what a good life for children is –

providing a fun, creative and supportive environment for children as they explore and express themselves in the various fields of arts,” says Ms. Marichu Belarmino, Project Director of PETA’s Children’s Theater Program.

The festival will kick off with a special performance of Christine Bellen’s “Mga Kuwento ni Lola Basyang”, a children’s musical about a grandmother telling magical stories to her grandchildren.

"The musical's significance is in sending the message to children and adults the value of storytelling; of going back to Philippines’ literary roots of legends and folktales, an d even creating our own stories that speak of our values,” says Ms. Marichu.

Other than PETA’s program on children and the Festival, it has also most recently developed resource materials such as CDs, cards and guidebooks to help educate the public about children’s rights.

First female artist wins Silpathorn award for performing arts

2008-10-23T16:37:00.004+07:00

First impressions can definitely be misleading. 36-year-old Sineenadh Keitprapai may be small in stature, but speaking to the arts veteran revealed that charisma and energy belied her pint-sized frame. To be honest, the artistic director of Crescent Moon Theatre and director of Crescent Moon Space looks as though a gust of strong wind could sweep her clean off her feet. But trust us when we say that Sineenadh Keitprapai – or “Nad” – is no wilting flower. A renowned stage manager, director, and actress, Sineenadh has also long been an advocate for issues concerning women by using arts as a communication medium.

Without a doubt, her efforts to raise more awareness concerning issues related to women have not gone unnoticed. Recently, Sineenadh became a recipient of the highly prestigious Silpathorn Awards 2008 in the category of Contemporary Arts. The Silpathorn Awards was established in 2004 by the Office of Contemporary Art and Culture (OCAC) of the Ministry of Culture (Thailand). The awards aim to promote Thai contemporary artists who are in the prime of their career and whose bodies of works have made notable contributions in the area of Thai fine arts and culture.

What makes this win even more special is the fact that the hardworking thespian broke new ground by being the first ever female artist to clinch such a highly coveted award in the field of contemporary arts. Since its inception in 2004, the previous four awardees in the category of performing arts have all been males. But Sineenadh broke the running trend this year with her recognition.

An alumnus of Chiang Mai University, Sineenadh’s first brush with theatre arts happened during her years when as an English major. Her passion for theatre was ignited after watching university productions and she soon realized that the arts were her calling. With over 50 plays she’s either produced, directed or acted in under her belt, Sineenadh Keitprapai has been a constant dominant force in the Thai contemporary arts scene.

Inspirations for her well-acclaimed productions and performances like Purgatory and Venus’s Party – both about women – were garnered from personal life experiences, her mother and friends, and even literary works like novels, short stories and literature. Sineenadh said that a combination of these “opened (her) mind to notice the situation around ourselves”. She also confesses that she “love(s) women characters and stories about women” and their impact on her was “the first step to show and express how I feel through arts”. Other avenues of inspiration, she added, stemmed from “the images, or small situations in society that impact me… (and) from domestic violence”.

One might be inclined to ask if she is a feminist. But the answer from Sineenadh is an emphatic “No”.

“The word ‘feminist’ is complicated for me to understand. There are many kinds of feminists. I think if I were to be a feminist… I have to know how to classify situations that determine when sexism takes place. It’s just too complicated for me”, she explains before laughing heartily.

Besides producing, directing and acting in performances that highlight women’s issues, Sineenadh initiated Women in the Moon, a women-only theatre festival that exhibits innovative new works by local female artists, together with Jarunun Phantachat, an artist from B-Floor Theatre. Incidentally, Sineenadh is also a co-founder of B-Floor Theatre, a group that focuses on physical and experimental theater.

The humble artist said that she was “surprised” when she learnt that she had won. However, she’s quick to explain that winning the award was never on her cards. “It’s not my goal (to win). Even if I didn’t win, I would still continue with my work. But it’s okay and it’s good that I got this award too. Because that means that the people and the government see theatre works as important”, she said. She also revealed that the win helped to boost her profile and that of Crescent Moon Space’s. Sineenadh also claims that she has begun to receive more requests for her to give workshops and put on more performances. Of this, she said, “This is a good thing too because this lets more of the ordinary people know about the theatre”.

She happily went on to mention that more non-governmental organisations (NGOs) are helping more women with the troubles that they are facing.

Sineenadh enthused that Thailand’s burgeoning arts scene is “really energetic” this year. The extension of the upcoming annual Bangkok Theatre Festival – from two weeks to four – will see the return of veteran theatre groups and an emergence of new theatre groups coming together to put up a month’s worth of arts performances.

“In my point of view, I am an artist and a theatre practitioner. I pick women’s issues as a topic for my work as a theatre practitioner. I am only concerned about women and the roles of women. It’s enough to make me understand and be interested in all issues related to them”.

Spoken like a true artist, indeed. Undoubtedly, Sineenadh Keitprapai has paved the way for present and future female artists and will be a shining source of inspiration for others in time to come.

Experiencing the Real World

2008-10-02T10:05:00.004+07:00

New student interns join the PETA team in Bangkok to have a taste of what it is like in the real working world.

Yet another round of interns have joined the team in PETA, where they will be assisting in the 4th Mekong Performing Arts Laboratory to be held later this year.

Raewyn Koh and Sheereen Teo hail from Ngee Ann Polytechnic (NP) in Singapore . They have joined PETA as part of their five-month Overseas Industrial Attachment Programme (OIAP). The Industrial Attachment Programme (IAP) is a compulsory semester that all Year 3 Mass Communication (MCM) students go through. The girls are two of six specially chosen students to have their IAP overseas.

The process of choosing two interns to join the PETA Team was given to the liaison officer, James Sharpe, back in Singapore . Rounds of short-listing and interviews finally brought forth Raewyn and Sheereen – two girls deemed capable of working in this establishment.

The IAP gives students a chance to get to know the “real working world”. Companies offer specially designed training programmes that will help students hone the media practitioner skills they have acquired over the three years of studying Mass Communication.

PETA is no different. Working with Lea Espallardo, their supervising officer, Raewyn and Sheereen will learn how to organise a large-scale event during the Mekong Performing Arts Laboratory. Not only that, they will also be provided opportunities in writing, designing and working with some of the best performing artists from the greater Mekong sub-region.

Profiles

Raewyn (Rae) is a 19-year-old Third Year MCM student. She has never lived this far away from home for such a long period of time and she looks forward to the five-months in Bangkok & Chiang Mai, Thailand and maybe Manila , Philippines .

Rae took the Broadcast & Journalism route during her electives semester earlier this year. She majored in Television Journalism, Print Journalism and Advanced Radio Production. She joined PETA in hopes of rekindling her passion for performing arts, something she was heavily involved in back in secondary school.

She hopes this experience will teach her more about Events Planning, a career she would like get into after graduation.
___

Sheereen, Rae’s classmate from MCM has great skills in organising and planning events. She was president and secretary in her two co-curricular activities, Film and Media Studies Agents (FMSA) and Sailing. The FMSA is a student council group that promotes the media courses in NP through open houses and tours.

A “people’s person”, Sheereen took on electives that would allow her to interact with people from different walks of life. Public Relations, Print Journalism and Presentation Skills in Chinese were natural choices for her.

Sheereen wants to get better at planning events and hopes that the knowledge she gains from PETA will help her pick the right job in the future.

2008-05-12T12:08:00.011+07:00

Philippine Educational Theater Association

41st Theater Season

In the midst of the globalization, global warming, poverty, the bombardment of information technology and media, what do we artists have to address as the primary target of our work? The major role of any art or media is to “influence” tastes, habits and possibly even points of views. The speed by which information is spread and the level of influence that it engenders challenges us to sharpen our messages to contribute not only to an awareness of our current social conditions but also to promote critical thinking among our audiences (no matter what age, gender and social status they belong to) through performances that are engaging and which make use of language and forms familiar to them; performances that both entertain and educate.

Our 41st Theater Season recognizes the role of the writer in crafting these performances and shaping the messages that will be sent to those at the receiving end of these messages - the audience. It will thus feature the Writer and his work. It will involve works of major Filipino writers as adapted by contemporary writers to reflect our current conditions. And in the same tradition, it will showcase works by European writers to allow both our artists and audiences to expand their perspective by allowing the works of these masters to mirror our own realities.

NOLI AT FILI 2000 (DOS MIL). Our first season offering begins with Rizal and his two influential works: Noli Me Tangere and El Filibusterismo. Nic Tiongson, respected academic and Philippine Culture expert adapts these two books into one contemporary play set in a small town in the Quezon province. In this adaptation, the small town politics and social mores become the backdrop of Rizal’s novels. The question of where change really emanates will be explored as we see how after a hundred years later Rizal’s novel resonates in contemporary Philippine Culture.

Performances: July 18-20, 25-27, August 1-3, 8-10, 15-17, 22-24, 2008 (10:00 am and 3:00 pm)

TOSCA. Our adaptation of Tosca as a collaboration with Black Tent Theater of Japan and the Practice Theater of Singapore. Our three companies collaborate to explore Puccini’s Opera in three approaches. PETA sets its interpretation during the Japanese occupation and Tosca becomes the battle ground of Japanese Imperialism, patriotic love and selfish greed. Three interpretations intersect at certain points and create a tapestry of interpolations on the Puccini’s Opera.

Performances: August 29-30, 2008 (2:30 pm and 7:30 pm)

The Prince with the long nose and the portraits of their ancestors, a scene from “Mga Kwento ni Lola Basyang”

MGA KUWENTO NI LOLA BASYANG & BATANG RIZAL (The Stories of Lola Basyang and Young Rizal). A back to back of presentation of our Children’s Theater productions, written by Christine Bellen. Lola Basyang will feature three of Severino Reyes’ folktales, our version of Hans Christian Andersen or the Grimm Brothers. The stories will tackle the mythical journeys into self discovery and value formation. Batang Rizal will revisit the notions of heroism and love of country from the point of view of a child. The path of young Pepe (Rizal) crosses with a contemporary boy named Pepito. Together they traverse time and history to unravel the child’s understanding of what is truly heroic and selfless.

Performances: September 19-21, 26-28, October 3-5, 10-12, 2008

Pepe holds on to Doña Lolay from “Batang Rizal”

SAAN BA TAYO IHAHATID NG DISYEMBRE? (Where Will December Lead Us?) is the third of Tony Perez’s trilogy on friendship love and compassion. Oktubre, Noong Tayo’y Nagmamahalan Pa (October, When We Were Still in Love) and Nobyembre, Noong Akala Ko’y Mahal Kita (November, When I Thought I Still Love You) were previously produced by the Cultural Center of the Philippines in the 1990s. Disyembre (December) brings the trilogy to its closure and at the same time, a full circle to its beginning. The play is about the unbreakable love and bonding between best friends and among family members, despite complications of betrayal, jealousy and anger. Here we gaze into a personal and micro lens that focus on the psychological dimensions of a traditional Filipino family in the midst of their histories and intertwined relationships.

Performances: November 14-16, 21-23, 28-30, December 5-7, 2008

ADAPTING THE EUROPEAN MASTERS. The season ends with a pseudo festival that will showcase an end to a ten month project that will take at least forty of our artist be they writers, directors and actors into the study of European playwrights like Ibsen, Chekov and Strindberg. The study begins with the analysis of the text as written during its time. Specific scenes will be chosen to be mounted in a Laboratory production. The final phase will see our young playwrights adapting these classics into contemporary Filipino adaptations using various approaches and styles.

Performances: February 6-8, 13-15, 20-22, 27-28, March 1, 6-8, 13-15, 2009

We hope you will join us in another year of wondrous theater experience.

Maribel Legarda*
Artistic Director
PETA

*******

*Ma. Isabel A. Legarda or “Maribel” as she is usually called is the Artistic Director of the Philippine Educational Theater Association (PETA). She is one of the country’s pioneers in the use of multi-media in theater, producing plays that feature cutting-edge visuals and highly entertaining fares for audiences. As a PETA Artist-Teacher, she has been involved in over 80 productions as an actress, dancer, director and choreographer and has conducted numerous workshops locally and internationally. She has also directed a number of plays which have been hailed by audience and critics both for its aesthetics and content.

Out of the Crib – A Singaporean’s Perspective

2008-02-01T12:10:00.000+07:00

By Nurun Nisha M Heallmy

Spending the last 19 years of my life in Singapore, and hardly crossing the little body of water that the island is surrounded by, September 17, 2007 will forever be engraved in my memory as the day I left the all too familiar concrete city, and start to embrace chaos and see that the world stretches beyond strict laws and mundane routines.

I was one of two to be selected to pursue the Overseas Industrial Attachment Programme set by Ngee Ann Polytechnic (Singapore) with the PETA Mekong Partnership Project in Bangkok. To list down everything that I have done and been forced to do in the whole five months of the internship would probably take up a whole book, so I have decided to share the ones that I meant more to me.

The Land of a Thousand Smiles and Much Lesser English

Each time I asked fellow Singaporeans what Bangkok is like, I get the same answers: Bargain Shopping Paradise. Shopping suddenly seemed far-fetched when I first experienced trying to find the office of the PETA Mekong Partnership Project. Some of the roads were written in what it seemed to me like funny scribbles, accompanied by some English alphabets, which made up words I could not pronounce for the love of mankind. We dropped by official looking buildings with the hope to meeting someone who could speak fluent English. In the end, we resorted to spying on a man reading an English newspaper and finally getting him to write the office address Thai.

The two months that followed were full of adventures, taking into account the countless time we have decided to resign to fate every time we cannot figure out how to get home without hailing a taxi. I imagined that I was Lara Croft every time I had to hop off the bus, which never came to a complete stop. I went through painful and embarrassing encounters in trying to find directions to the restroom, only to have the Thais politely smiling and saying, “Mai kaow chai kha (I don’t understand),” as I hop on my feet in urgency.

As I had thick smoke blown to my face while strolling along the streets of Bangkok, I reached a conclusion that if all the drivers in Bangkok were to drive in Singapore, traffic police officers in Singapore would be kept busy suspending licenses. In Singapore, everyone knows the road rules stand: give way to pedestrians. In Bangkok, it was different: give way to frenzied drivers. I slowly realised that it was more or less the same in other countries, when I went to Cambodia and Manila.

Along the busy streets of Bangkok.

Although I stayed in Bangkok for two months, I lived the life of a tourist mostly. Not because I saw every tourist attraction there was available, but because we had our experience of being in the middle of a conspiracy involving a Tuktuk driver and a cunning restaurant owner. There we were, having ended a harmless night of drinks in Hard Rock Café and having men old enough to be our fathers trying to chat us up, and hoping to find a decent place for supper. The Tuktuk driver came in his bright shiny vehicle offering us a destination for cheap supper and we were brought to a safe-looking restaurant, which provided wonderful service. It dawned on us that we were cheated when we received the 1,000Baht bill for a meal that would cost half the price in Singapore. Needless to say, I swore off Tuktuk drivers that night.

After finally settling in, I realised being away from Singapore was not so bad. I appreciated the difference and enjoyed the hysterical adventures vis-à-vis the systematic and orderly Singapore.

Most importantly, I learnt to be wary and careful, which proved to be a significant lesson later on when I went to Cambodia and Manila.

The Land of Dust and Commando Insects

Lea L. Espallardo, the Project Director of the PETA Mekong Partnership Project, and I headed for Phnom Penh, Cambodia, days before the 3^rd Mekong Performing Arts Laboratory commenced. It truly hit me that I was in another country altogether when I saw the airport. It reminded me of the airport one would see in a 1960s movie.

The ride towards the hotel was coloured with a myriad of motorcycles on the road, buildings no higher than two storeys, children running barefoot along the roads and an infinite amount of dust. I stared on in awe as the taxi driver drove to the likeness of the drivers in Bangkok. By then, I was used to not grabbing the seats and chanting prayers as the driver speed through the traffic.

My first assignment was to hand out invitations to the various embassies in Phnom Penh. I encountered friendly and unfriendly characters, and systems that rendered me speechless. While the staff from the other embassies simply accepted my invitation without much interrogation, I was firstly not allowed to enter the Singapore Embassy building because my purpose was definitely not to enquire about my visa, even though I am a Singaporean. The gates that surrounded the building seemed secure and stood out from the other architecture in Phnom Penh, with its high walls and no possible view of the building inside. I approached the tiny window with the guard inside and stated my purpose and he was friendly as he asked me for the documents. He then whipped out a device and scanned the letters for malicious content. I was then convinced that the system was foolproof. I reckon that if I could look like a threat, then anybody could be a threat.

After recovering from the incident at the Singapore Embassy, I went on to conquer the streets along the Riverside in Phnom Penh, ready with the Laboratory posters and masking tape. Unlike Bangkok, Phnom Penh seemed to have a significant number of locals who could speak English. I mastered the skill of pasting posters on dusty doors and knew when I should turn away from dark alleys. In Singapore, you could walk almost anywhere sans worry. I started an addiction to riding the Tuktuks and motordops, or as Avie would call them, “sun-dried motorbikes”, and treated each ride like an adventure. As Alice Walker, an African American novelist, said, “Expect nothing, live frugally on surprise.”

Document, document, document.

The participants arrived in Phnom Penh and then I jumped into my role as the Documentation Head. We were never taught annotation in school, at least, not the one required for the Laboratory. My ears got accustomed to listening to six languages at one time, and comprehending over eight accents. Stereotyping has never been more apparent before I started the Laboratory. I came upon characters that fulfil and characters that defy the stereotypes that I have often heard of in the past. Overall, the experience I had with each participant proved to be enriching and enlightening.

After we travelled to Siem Reap, where I witnessed the beauty of Angkor Wat firsthand, we took a boat ride to Battambang. Along the river, I saw naked little boys in the open and playing with their friends. One of the little boys had no pants on, so his bottom was placed nicely on the warm seat of his little boat and ironically he had a long-sleeved shirt on. He was rowing and looking at us before he realised his tiny boat was stuck and he lifted his tiny bottom and worked his way, paddling his tiny paddles and trying to get out of the tangle of mess. We came into this placed filled with more water plants growing from deep, down underwater and with vicious twigs sticking out. When we got in the route, twigs and branches were swatting against the side of the boat. Pieces of branches lost in the war remained on the boat while the mighty ones fought on and tried to swat us. We ducked and triumphed in victory at the end, but not without some bruises to prove our relentless fight. Then as we moved forward, there was another boat in our way. Both boats slowed down and manoeuvred their way out of each other's paths to reach their respective destinations. That incident reminded me of the streets in Bangkok where the courageous and highly skilled drivers had to worm their ways through small tiny lanes.

Chilling with the Laboratory dolls and the Thai girls.

In Battambang, I saw real cattle and more naked kids. One may think this is not a big deal, but one can only see cattle in school textbooks or butchered in markets, while naked children are hidden from the disapproving eyes of the public. We bonded with the village kids, and broke all boundaries of language barriers. The children were open and full of affection, compared to the children in Singapore who were always busy with all sorts of lessons that the parents enrolled them in.

People were not the only ones who got close to us. Insects of all sorts greeted us in Battambang, too. I have not encountered so many insects in my whole life in Singapore. Especially during the Closing Recital Performance. The insects attacked like their lives depended on it and they bit us everywhere, hence, I have named the insects of Cambodia “Commando Insects”, for that was the term to describe them.

Language barriers, be gone!

When Cambodia was over, we had to say goodbye to the participants and people in Battambang. Over the period of three weeks, I have changed my perspective of the world in yet another way. In the words of Henry Miller, American writer and painter (1891-1980), "One’s destination is never a place, but a new way of seeing things."

The Land of Funny Delicacies and Horror Stories

Manila, Philippines, is set to be our last stop for the whole internship programme. Prior to that, Rogie warned me about the incidents that were deemed ‘normal’ in Manila. Among the stories were tales of random people being stabbed, robbery, and a local delicacy called Balut, a fertilised duck egg with a nearly developed embryo inside that is boiled alive and savoured. It was definitely not the kind of insight I was looking for before my trip but Rogie seemed to enjoy seeing my expressions at each story.

When we reached Manila, I discovered my highly sceptical inner self. It was only after much convincing from the PETA staff, that I relaxed a little. Among the three countries that I have visited in my internship, I first felt the pangs on homesickness while I was in Manila. A little delayed, one might say, but it was only in Manila that we faced difficulties and horror in finding a decent apartment. From facing the possibilities of bunking in a cubicle for the night, to having our bags left outside the house by an unsatisfied landlady, we finally found an apartment and resorted to dealing with broken faucets and more monster-sized insects.

The people in Philippines were also different from the previous two countries. I was a little intimidated when I first witnessed them in a conversation during lunch. Animated conversations filled the air, raised tones broke the silence, and I was anticipating a fistfight in any moment. Turns out, Filipinos are just enthusiastic in their conversations. Instead of biting my fingernails every time the conversation gets heated up, I learnt to laugh every time they do, even when I do not understand a single word.

At the film shoot with Avie and Alfred Vargas.

By then, I was used to seeing guards at supermarkets carrying rifles as long as my upper torso. The first time I saw it in Cambodia, I was dumbfounded at the open display of weapons. In Singapore, there was once a case of army personnel who left the military camp with a rifle, and triggered a 20-hour manhunt involving over 200 police officers. Needless to say, I doubt anyone would like to bring a gun out for a stroll in Singapore anymore. When I found out that it is normal to own a gun if you live in Philippines, I started wondering if cars were bulletproof, and if truly everyone knew how to work a gun, for I am not fond of surprise shots.

Public showering also seems to be apparent in Manila. Almost everyday, we would see a woman brushing her teeth beside a bank, a mother giving her stark naked kid a shower by the roadside or a man rinsing off the soap from his body just meters away from a restaurant.

A senior member of PETA brought us to Laguna, a province in the Philippines and there, we saw little towns and learnt that vagrants would prefer to be called ‘informal settlers’ and they would set up their homes in any vacant land or building. We saw the view of the city from the top of the mountains and I was amazed at the sight. You see, the highest natural point in Singapore is only 166 metres and the tallest building is 280 metres, hence, there is no way one can get a bird’s eyes view of Singapore from a natural point without a tall building covering half the view of the city. I saw a real waterfall, visited a woodcraft shop which had various intricate crafts made by wood shavings, and enjoyed the view of a lake that was probably equivalent to the size of Singapore itself. The lake that we have in Singapore would dwarf in comparison to the lake in Philippines, and named a ‘pond’ instead.

I fought the urge to run for my dear life when everyone around me said I had to try and eat the snake dishes in the restaurant serving exotic food. I thanked my lucky stars when all they served me was Halo-halo, a local desert. In the end, the closest I got to the snake was when I touched it and end the relationship right there and then. The only weird delicacy that I am ready to try is the Balut, which has taken me about three weeks to prepare myself for. All I need is a blindfold and some rope to tie me to the chair. My short trip in Manila can be summed up with a quote from James Michener, an American author (1907-1997): f you reject the food, ignore the customs, fear the religion and avoid the people, you might better stay at home.

A day in Fort Santiago, Manila.

Despite all its stupefactions and humdingers, my adventures in Thailand, Cambodia and Manila has left me with a reluctance to return to clean and green Singapore. I pray that this writing never reaches my mother but I would like to jump off moving buses, bask in life’s simplicities and build friendships where language is not the common medium. As Helen Keller, American author, activist and lecturer (1880-1968), would rightly put it, “Life is either a daring adventure or nothing.”

Confessions of a Student Intern

2008-02-01T10:16:00.000+07:00

As told by Avie Zharisse T. Mercado.

“Do you know the difference between education and experience? Education is when you read the fine print; experience is what you get when you don't.”
-Pete Seeger

It is hardly necessary to recount the details. The very first time we stepped into the office, we were given proper introductions, like proper employees. Not a bad start, I thought.

Well, it was the beginning of a custom- we’re to start the working life. No more textbooks, boring lectures, or lengthy tutorials. It’s all about work-- from the typical eight hour daily grind to office politics to what colour file best suits the new proposal-- real work.

And they gave most generously, the supervisors. I must admit I felt giddy, as well as a tinge of excitement, as Lea dictated our specific tasks. And one can’t judge how things will turn out right from the start. After all, you really wouldn’t know what to expect from an apartment rented office, right?

Well, the first week went pretty alright, although it was obvious we were tiptoeing on unknown grounds. Rules were laid out, and certain protocols had to be followed. We had all but a desk to our name. I also had a view of a white-washed wall, but hey, who’s one to complain.

This was the Bangkok office, and there were all but three staff. Five actually, including Nisha and I. Office hours were pretty mundane at the beginning. It was getting there and going back that proved more of an adventure- travelling in rattling buses that never seem to fully stop, walking on stony uneven grounds that cost me a pair of Havaianas (damn), trying to converse with the locals using my limited Thai vocabulary and getting lunch. Yes, buying food was like a game for us. ‘Point and purchase’, as we like to call it because at the end of the day, you very well know that you don’t have much of a choice because no one else would understand what you are trying to say. And no, you wouldn’t want to end up eating something you really don’t know because you might end up staying in the toilet more than you intend to.

Now, enough about food, it’s back to work. During the first few weeks, I was bound to my first task- the electronic newsletter (eNews). Coming up with a flag design was like drawing something you’ve never seen before. I have to admit I had no clue as to what kind of concept they were looking for or the design feel that they wanted. It was like playing guessing game. However taxing it was, it was indeed a great opportunity for me because it was the first time I was conceptualising ideas for a real company that would definitely be authorising my designs.

I also found myself poring over software after software, trying all of them and looking for the most idiot-proof and free to use programme that we could use. Days went by and still, the possibilities looked bleak. But I’m not one to give up so I challenged myself to figure out web programming protocols such as STMP, POP3, PHP, etc. And who would have thought that the programme was something they had all along- Microsoft Outlook! Sheesh. So anyway, with the eNews down, I was able to move on to the postcard, which is the next biggest bulk on my desk.

And the postcard, my friend, is the greatest headache of my entire internship. Alright, I’m exaggerating but coming up with the concept alone took several days, and we had to do millions of edits. It was always back to the drawing board and I can’t stress enough that design work requires a really good desktop. The odds were making life more difficult for me because if I remember correctly, I think I spent half the time waiting in front of my laptop just for the text to load or for the silhouette of that small boat to render. Laying out the postcard was also cumbersome as I had to insert the Khmer translation phrase by phrase in order for it to be accurate. And did I mention I had to squeeze mouthfuls of information in that 4”X8” piece of cardboard? I never thought it was possible but maximising the limited space to fit all those content was a feat in itself. And of course, the rest was history. The collaterals that came after were much easier to do because there was already a concept to follow. All I can say is that it was indeed gratifying and I am proud of it, as much as I try to hide it.

At the Backpackers' hangout at Khao San, Bangkok.

Well, enough about design work. It’s also because of the fact that we sit at our desk for far too long that we often complained about boredom. We always found ourselves caught in some sudden temptation to do everything else but our work. And we were inevitably bored and cross when we restrain ourselves for some gayety for work's sake. I am not sure when I acquired my blasé attitude for deskbound jobs but all I know is that I am not one to conform. I mean, I can’t imagine myself staying in a company for more than a month (well, two months at least) answering phone calls and typing my life away in front of the computer. Again, I’m not exaggerating but I need the sun, fresh air and activities in my life other than browsing the web or photocopying documents.

And that is why I loved the fact that I was able to run errands, collect or deliver items and purchase supplies. It was indeed a nice breather away from the four walls, however insignificant it may sound. Plus, to cut the humdrum in the office, I was also made to cover the Bangkok Theatre Festival. Articles aside, conducting interviews reminded me so much of my Journalism class, semesters back, and the several characters I have cross-examined or forced a secret out of. And I would say it was indeed a good exposure for me because language aside, it was also quite a challenge to put across your questions and get the right answers from the Thais because they are naturally reserved people.

At the end of the day though, not only did I learn more about the arts community here in Bangkok, I also recognised the passion these people have for their work as well as for the arts. Attending the festival also made me realise how small or intimate the theatre/arts community is. It was like a replica of the scenario in Singapore where a handful of ‘indie’ groups struggle to show their artistry. I’m not one to judge but I guess they still have a long way to go. From where I see it, right now, what the groups really need is unity. Oh well, I hope they’ll be able to figure that out themselves.

Anyway, still on the topic of ‘outdoor activities’, we were also allocated the duty to play host and accompany a senior member from PETA for one whole day and basically, “look after” his interest. Honestly, it was like babysitting an elderly. And because of that our activities were pretty much limited to walking around, sitting down and talking. But I did enjoy it and it revoked memories of that time I was given the duty to coordinate a group of international delegates for an event. I guess to me, these are the things I consider ‘working while having fun’, which isn’t such a bad occupation, right?

Okay, I digress. So moving on, by October, there was in working operation the secretariat duties of the Cambodia Laboratory. And since I’m also more comfortable communicating and sharing my ideas and comments by now, it was easier to coordinate with various personnel or organizations that we were working with, specifically liaising with the Cambodians through email. It was also the cause of a big headache for they are not well-versed in English. So the instructions I have to give have to be very detailed and to the point, which will make you rethink your words and lower yourself to that of a grade four student. It was unsettling and amusing at the same time for you can’t help but fret about the conditions of the collaterals. And yet, you tell yourself that there’s really nothing you can do about it. And so that’s where trust comes in, I realised.

Problems aside, I was also crowned the “Printing Mistress”, a title that allowed me to be intimately close to the likes of ‘Canon’ and ‘Hewlett-Packard’ machines. I headed the printing of related collaterals such as the ID tags and laying out the program brochure, tasks which gave me the reason to lock myself in the hotel room and have cable television as a pleasant companion.

So other than coordinating and practising my dexterity, I was also able to stretch my brain cells and store some data in them as I compiled researches on the Water Festival, Ramayana, Romeo & Juliet and HIV/AIDS. It’s always refreshing to learn something new and what better way to do so when it is actually a requirement for you. Because, really, there are just some things that wouldn’t cross your mind on reading up on unless told so otherwise.

The 'kroma' became our best friend during the entire Cambodia ordeal.

Well, by now we are full-fledged into the Lab and I realised it’s really different when you’re living and breathing your work. There are no longer defined “work days” because basically we are working everyday. It’s really different from going to the office in the mornings when we were in Bangkok, compared to waking up in a hotel room, and realising that you have an ongoing event to handle.

And my firm is the kind of firm I want to work for. This event is important; and if I spend it dragging through family affairs, or knowing everybody else’s business, I'll only be about seventy per cent efficient. I'm willing to admit that relationships--even an emotional like me-- would be a distraction. So I distanced myself, taking comfort in the fact that I am too far flung from civilization to pick up the phone or reply my instant messages. It was an easy excuse to use and it made me focus on my tasks fully.

And I fell into the habit, too, of blurting vulgarities, merely just to have something to punctuate my sentences with. The first week of that habit was during the workshops. I shall always remember that time, because it is certainly the most number of times I have ever cursed. But I take comfort in the fact that, apart from Nisha, no one else understood what I was saying.

Organising the event in Cambodia also provided both challenges and pleasures as the days went by. And what makes it even more interesting is the fact that there 6 different countries involved- participants from Cambodia, Lao PDR, Thailand, Viet Nam, Yunnan province of China and of course, the country of the main organisers, the Philippines.

The participants, production team & performers during the Closing Recital of the Laboratory.

I also began to ask about things; and I made effort at applying the game of improvisation to the language problem, a thing which to me is still one of the most fascinating factors in communication. And because of that, I am able to learn new customs and bend to adapt to the various cultures that were laid out before me.

Within two short weeks, we travelled to 3 different places in Cambodia- Phnom Penh, Siem Reap and Battambang province. Personally, I have always embraced travelling. But when you’re part of the organising team, everything just somehow seems to sap your energy. Furthermore, despite having rest and relaxation days, you are not really able to rest because you are in charge of the event. And that means that, technically, you still have to be always on your toes.

Other countries are also noticeably more sceptical about others, or their personal prospects about each other. I’m not sure how I much I can justify this but it’s in their expressions or mannerisms that somehow gave me the impression. Plus, there’s always those bitching and rumours that makes things worse or exciting, whichever way it goes. Disagreements were also inevitable. And it makes me chuckle inside as I witness these grown ups acting like little children.

The world's your stage. Participants performing in front of the community in Battambang province.

Also from self-observation, anywhere from 40 to 70 percent of the participants probably don’t have a clue as to what is happening or what will happen during the entire event, which I really find amusing. Examples would be during special event happenings like the Opening Parade or the Art Happening at Abacus Café during World AIDS Day. They’re like a flock of lost sheep being herded to whichever they were headed for. But nonetheless, it’s a good thing because unlike us, they do not have to have the agenda memorised or transportation schedules to worry about.

As for our cultural exposures, if I needed more proof that mass tourism has arrived in Siem Reap, I got it at the entrance to the Angkor temple complex. Vehicles of every description lined up at the gates, parting with their US dollars for an encounter with a wonder of the world. And yet, there is something to be said for a revival of pagan worship. It's not that I would presume to do something as foolish as try to bring home a piece of relic (as much as I wanted to). But no way, José, I’d settle for a photograph instead. Plus, I can’t help but have inner arguments over the question of how these people actually live to exist. They are ancient, recurring, sometimes stimulating but more often tedious to comprehend. And these are the very same reasons that entice the foreigners and locals alike. My encounter with the ‘Apsaras’ is not over yet, that’s for sure. I’ll come back again definitely, and that’s not because I sickly enjoyed getting out of bed before dawn and shivering throughout the tuk-tuk ride, but to fully appreciate the wonder and the scale of the place. And the next time, I’ll make sure I get to see the sunset!

Visiting the ancient ruins at the Bayon Temple, Siem Reap.

Anyway, back to the daily grind, I set myself to playing the absorbed young worker. But it was a long, long time before it became the sweetest of realities. I have to admit that it’s really exhausting and at times, I am tempted to just ignore my tasks and have a good rest instead. But I know better than to abandon my responsibilities because at the end of the day, it will just come back to you full circle and you will find that you have even more work to do. So I guess this is really a test of perseverance.

So far, my tasks vary greatly from administrative work to logistical to designing. Honestly, I am not one to complain because although having to run around or do stuff here and there proves tiring, personally, it is really better than having to constantly sit down. I can just imagine how Nisha feels. In fact, we even traded places for one whole day just to let her have a rest and for me to experience what documenting was like. Those several hours were fruitful for I was able to fully concentrate on what was happening during the workshops. But a day was enough, really. At least, working behind the scenes allowed me to tour the province in a motorbike while running errands or sit in the tuk-tuk like a muse in a parade to fetch a guest or two.

The bruise/blue-black/wound that I receieved after accidentally knocking my thigh on a metal pole during the production week.

At times though, work just keeps coming and you feel like you are bombarded with things to do. There are also restrictions and limitations that make work more difficult like the internet connection, technical problems, supplies deficiency, etc. But despite that, the highlight of the Lab would definitely be the production week. Work seems never ending and amidst sleepless nights and foregoing food, I am just glad I survived it!

Honestly, it was the longest week ever. It was also the time when everyone was stretched to his or her limits- the organisers, facilitators, technical crew and participants. It’s also odd how days of preparation and all that hard work boils down to only 2 hours of production, and then wham, it’s over. You soon see yourself guzzling down you first can of celebratory beer and posing for photographs as mementos. But of course, it is always that sense of satisfaction, knowing that all you have put in was well worth it. I guess this is what life’s about, even during our studying days.

Meetings, meetings, and more meetings.

And of course, how can I forget all those lengthy evaluations! The very first time I sat during one, all I could say was that it was curious labyrinthine discussion, winding from recriminations and flat admissions. But then again, it is a platform that allowed us to freely express what we thought about the event and to be able to listen to others’ opinions. Though tiring and long winded, I must agree that it is essential for every event to have this because you will discover and learn a lot of things that you do not know about. At the end of the day, it provided everyone with the bigger picture of what actually happened.

My insect-infested laptop during the production night!

Along with that, there were also things I never dreamt I would ever experience like leading a provincial life; meeting and greeting an assortment of insects, hearing bullfrogs in the dark, braving the dusty roads, having to withstand an insect-swarmed area during our production day at the technical booth (I swear I was this close to crying!), or having 8 people squeeze into a tuk tuk after having rehearsals till 1am. I also never imagine to have met so many different kinds of people within a relatively short period of time.

Working with people who are older and more experienced than me also provided me with the opportunity to learn from them and discover knowledge that I’ve yet known. Talking to these people also helped me figure certain realities of life like the working cultures of differing countries, art appreciation, theatre work and social norms, to name a few.

Part of the documenting team during the Opening Parade, held in Phnom Penh.

There were also things I further discovered about myself like how I am an independent worker and I work best with a plan set before me. It also helped a lot to be able to consult my supervisors time and time again and to be able to work very closely with them. With that, it also gave me an insight into their lives and to be able to understand them better, not only as my superiors, but also as a person and even as a friend.

Being part of the organising team, I learnt that managing a month-long event is not a joke and that proper planning is vital to be able to carry it out well. From my personal observations, I also learnt that you always have to have the end in mind and that it is essential for you to take a step back sometimes to see the bigger picture. It is also important to always know your tasks. From my supervisors, I learnt that recalling your duties for the day is necessary to help you stay focus on your responsibilities. I also realised that you have to keep a lookout for other possibilities and that sometimes things do not always have to go your way. Keeping an open mind also helps with being able to accept challenges more easily. And oh, yes, tolerance. Patience will always be a virtue. Period.

One of the common sights in Cambodia.

And as Lea points out, you will really feel disorientated after being away to a different place for some time. I remember clearly seeing so many bright lights after we came back to Bangkok. I guess people were right when they said that you will feel displaced because of the different environment as well as the atmosphere. I bet I looked like country bumpkin those few days because everything else felt so fast and irregular. I also remembered telling myself that I’ve not seen so many fair-skinned people! Perhaps that’s what heat does to your mind after some time.

So long, that is, our adventures across the border. It’s really sad thinking about that poverty-stricken Poipet. Among the more gnawing effect of the flagrant society is the fact that it’s only a piece of river (or creek for that matter) that separates the poor and the well to do. We all may talk about hierarchy as a powerful social force, but all I know or felt was that those kids need slippers or at least proper footwear. If I ever have the chance to go back there, I’ll buy the 40Baht slippers, the same kind I got for myself in Cambodia, and distribute it to them. I don’t know why but that was the most striking impression I got of the begging children there.

"The future is in their hands." A street toddler in Phnom Penh. One of the biggest issue the country's facing right now is child-trafficking.

And speaking of giving, it was also the first time I was away for the festivities. Well, my choice rested between going home for merrymaking, where there were wonderful Christmas dinners and New Year parties, or staying in Bangkok and striking out for myself. I chose the latter for the most selfish reasons. One, I was still not done exploring the nook and cranny of this city in my own liberty. Secondly, I would not have to spend money on getting everyone presents since most would be expecting because I’ve been abroad. Thirdly, frivolous as it might sound, it was more significant to be away for five whole months. Somehow, I guess, it gives me a sense of self-reliance, knowing that I have been away the entire time of the five month internship. That way, I can proudly say that I was able to experience independence even during celebratory occasions.

But now, I know better than to miss any of these family gatherings for they prove really important. As cliché as it might sound, it is during this time that having them near is the best thing one could wish for.

And on the issue of going back home, I never expected to be culture-shocked (of all countries) on my own grounds! Coming to Manila was indeed an eye opener, since I have not seen the place for more than a decade now. But still, who would believe that within 2 days, this place has already taught us real life lessons- how to fear and how to be strong, at the same time.

In fact, I can still remember Lea’s words:

"Do you know what the first thing this city teaches you?"
I shook my head.
"Fear, my friend. Fear."

We are completely on our own here and little did I expect that having to look for accommodation would be so difficult. Plus the condition of the places here are really questionable. The streets and roads are a jumble and we are told that having a map is utterly useless in this city. There is indeed a great divide in the country, where the poor are wallowing in the slums while the rich build their high walls to block out what is beyond their ‘comfort zones’. Traffic here is also crazy.

Cross the border,
Into the big bad world
where it takes you 'bout an hour just to cross the road
just to stumble across another poor old soul from
the dreary old lanes to the high-street madness
I fight with my brain to believe my eyes
and it's harder than you think
to delay the sadness that creeps up my spine
and haunts me through the night
and I'm wondering 'round
searching for the change that I've lost somehow
These streets have too many names for me
I'll get used to this eventually
I know, I know

“These Streets” by Paolo Nutini

Our first weekend was spent on juggling both work and moving into our apartment. And as much as refuse to admit it, it was also the first time I felt homesick. Ironies of all ironies. And I can still recall vividly telling my dad over the phone, half sobbing, that Manila was such a dirty, old place and that I can’t wait to go home. Plus, there was nothing here I could trust, much more to go out.

Us interns with Lea, who's really a supervisor you never expected to have. And truth be told, a day is never complete without her noise!

But weeks seem to pass rather quickly despite the fact that we are cooped up in the fourth storey of this theatre building. But there were plenty of opportunities for us to witness and observe. In fact, we are almost always exposed to the theatre culture here I also made sure I listen to the stories of some of the actors, directors or staff during their rehearsals. It also helped that I was able to recall the crash course on Theatre and Stage Management taught by Rogie back when we were in Bangkok. So even though I do not have an in depth knowledge about theatre, comprehending the situations, terms and lingo was manageable.

It was also a great opportunity to be able to attend theatre productions such as Skin Deep’s critic’s night and the mobile production, Batang Rizal. Not only did it ignite my interest for theatre arts, it also gave me an insight to the theatre life. Plus, I was able to interview related people in the organization for my articles, thus, further understanding the lifestyles and the whole flow of the concepts behind productions.

Moving on to something we were more familiar with, we also got the chance to witness a live television shoot outdoors! It was also interesting to note how the Filipinos work and how crazy the pace can be on the set. I can say my brief experience on that set was really an exposure on how the production works and the reality of the media industry- actors have to be able to memorize lines quickly, a shooting for one hour of a drama episode has to be completed within a day, and more importantly, sleep is a luxury for almost everyone involved!

On an outdoor shoot with one of the GMA 7 stars of the telanovela, 'Manila'.

Well, since we do not get to go out much, Tito Ernie kindly took the liberty to take us on a cultural field trip. We spent the day driving up mountains, winding through roads and learning more about the Filipino history and reliving its culture along the way. It was really refreshing to listen to the stories as he shared with us some of his experiences and narrated the happenings that somehow changed the face of the social status of the Philippines.

To be honest, that outing really changed some of the perception I have of my country and the people. In fact, it made me even more curious about its historical and cultural background, because it’s also discovering a part of my self-identity.

Welll, to say the least, the last 31 days isn't really equivalent to the 12 and a half years that I've been away. My poor country. Will I still love her when I die?

The view from the top. Beautiful sunsets from the office window counts as one of my memorablia from the Philippines.

Anyway, enough about patriotism.

Every month I reached a particular conclusion. There was an opportunity for me to be independent and I should take advantage of that situation. And at the end of the day, I can say I did.

You see, what I really liked about the entire internship was the fact that the most “intern-y” tasks that were given to me was doing the inventory lists. And yes, how can I forget, personally addressing 600 postcards! That was really crazy, I must say. But at least I take comfort in the fact that I don’t have to make coffee for my bosses or collect their laundry. And at least I did not have to know the photocopier on its first name basis. Well, that’s because we don’t have a photocopier but oh, well.

There was also no apparent second-class citizen treatment. And there’s that practice of autonomy within this company which allowed us to make decisions for ourselves most of the time, something that an ordinary employee would hope for, much more an intern.

Being assisstant to the overall Laboratory administrator.

And in an age where flamboyantly gay characters are sitcom staples, a gay supervisor was but a far cry to that stereotype. I must admit, nothing seems as amusing, explicit and entertaining as talking to Rogie. And I know deep down, he enjoys disturbing us. I just know it.

Well I guess, the only thing that remained was reaching work on time. And in that area, we fail pretty badly. I think that was our attitude, although we try not to admit it.

That was five very short months ago. When, with three countries, adapting to a new environment became our life, we built connections with people and each time moving away after that. Several folks whom we liked best among those first few instances include Nud, Phil, Maribel, Tito Ernie, Tita CB, Ma’am Beng, Sophie, Bandol, Vutha, Pouch, Srey Mao, just to name a few. We can’t deny that they formed the nucleus of a friendly group that has shared with us wonderful times one could hope for in a foreign land.

My experiences may not be on par with others just yet; but it is enough to leave a wide and lasting impression on my life. And in everything else these adventures served as great lessons to me. Through this course of time, I have also given up some of the principles I used to believe in and replaced some for more obvious reasons. After all, there are things in life you just can’t keep holding on to.

Well, looking back, twenty weeks is a pretty long time and I’m just glad I made full use of it. I know that all the experiences that I had, the people I met, the things I did, the skills I’ve learnt and the knowledge I’ve discovered, will always remain with me.

They say that the world is your classroom. I couldn't agree more.

“You cannot help but learn more as you take the world into your hands. Take it up reverently, for it is an old piece of clay, with millions of thumbprints on it.”
-John Updike

The journey's over. Taken at Luneta Park, Manila.

Skin Deep

2008-01-29T20:11:00.000+07:00

“So, is there something you don't like about yourself?”

That is the question posed by Skin Deep, a new play, written by Vincent de Jesus, which centers on an internationally famous Filipino cosmetic surgeon who opened the world’s first one-stop beauty resort, Skin Deep Beauty Sanctuary, and the Lucky Makeover Seven who go through different miracle procedures hoping to become more aesthetically acceptable to the cruel world outside.

Making its debut on February 1, Skin Deep is the third offering for the Philippine Educational Theater Association's 40th season at the PETA Theater Centre.

This musical comedy discloses the story of seven ordinary people-- an obese female call-center agent, a troubled married couple, a male model wannabe, a flamboyant florist, an abused housewife burned beyond recognition and the reigning Miss Artificial Beauty-- and their frenzied search for beauty and happiness.

When the seven personalities collide, however, questions of self-worth are raised, dirty secrets are revealed and ugly truths about themselves are exposed. Moreover, they soon find that the more they become “beautiful” on the outside, the more confused some of them become on the inside.

The play also boasts of a powerhouse cast which includes some of today's most admired theater actors- Melvin Lee, Rem Zamora, Robert Seña, Eric Bisa, Isay Alvarez, May Bayot-de Castro, Bituin Escalante, Gail Guanlao-Billones, Mary Ann Espinosa, Phil Noble, Al Gatmaitan, Red Anderson, Glecy Atienza, Diana Malahay, Onyl Torres, Joseph Grantusa, Delphine Buencamino, Neomi Tabanao-Gonzales, Joan Bugcat, Eric dela Cruz, and Giu Comia.

Skin Deep uses a scalpel and cuts the surface to examine one’s need to be accepted by a seemingly superficial world where ‘packaging’ is more important than ‘character’. From a simple tweaking of a nose to a complete body overhaul, the play explores the connection between the pursuit of beauty and happiness.

And as the story unfolds, you be the judge to the old saying if beauty is indeed only skin deep.

Performances happen on all weekends till March 9, 2008 with matinee and evening performances on Fridays and 10am and 3pm performances on Saturdays and Sundays. Tickets are at PhP300.00. Schedules, however, are subject to change without prior notice.

For ticket reservations and inquiries, please contact the PETA Marketing and Public Relations Office at 4100821 or 7256244, mobile numbers 0917-8154567 or 0918-9068083, or email mpr@petatheater.com or petampro@yahoo.

Writers in the spotlight, stars in the wings

2007-11-22T14:38:00.000+07:00

Hi friends,

This afternoon was very exciting. I joined Josh for a Writers Guild of America (WGA) rally and march down Hollywood Boulevard that was supported by dozens of other unions, including the Screen Actors Guild. In case you haven't heard, screen writers are on strike because they do not get paid fairly from DVD profits of their movies/TV shows, and they get nothing at all from works released on the internet. Since downloading, streaming, and movie/TV show websites are the wave of the future, writers are concerned that they will get no share of the profits if they don't renegotiate their contract now.

It was a great turnout - perhaps as many as 10,000 strong. We saw quite a few people we know, and a ton of celebrities marching! Debra Messing (Will & Grace), Nia Vardalos (My Big Fat Greek Wedding), cast members of Ugly Betty, Adam Scott (Tell Me You Love Me), and of course the great Paul Connor (like all of Josh's short films). The most moving speech of all was given by the fiery and articulate Sandra Oh (Gray's Anatomy). Below is a pic of me with Ken Davitian who played Borat's sidekick.

Most exciting for me was a short performance by Alicia Keys at the beginning of the March to raise everyone's spirits. I stood right at the edge of the stage, and managed to take this photo of her without using zoom!

Let's hope for a speedy and successful resolution to the strike so that my husband, as well as all of the workers in the multiple sectors that support the entertainment industry, can get back to work!

Take care y'all,

Eleanor

In movement

2007-11-13T23:58:00.000+07:00

Home is not here or there, but somewhere in-between, in movement.
"poiny 33 distilled", a performance installation presented at National Review of Live Art, Glasgow 2006.
Varsha Nair

“A Journey Back Home”: A celebration of a life well lived

2007-11-12T13:32:00.000+07:00

As the world spins and society slips into a fast-paced evolvement, life and death is sometimes inevitably trivialised. We tend to relapse into ignorance, believing there is always tomorrow, and we often do not realise that when it comes to living, we procrastinate. The irony emerges when we avoid the topic of death altogether. Instead of a period for mourning, death could be a celebration for a life well lived.

This story is about a young aspiring female artist from Vietnam whose 26 years was filled with love, affection and an incessant passion for theatre artistry. Her ideas and dreams touched the lives of many individuals and for a few others; her quirks and muses became an inspiration.

With an aunt involved in the arts, Hanh discovered and developed her love for stage performing since young. Her aunt, Nguyen Thi Minh Ngoc, spent her days writing plays and being a teacher and mentor towards Hanh. While some people were skeptical about Hanh’s dreams of being a stage performer, Minh Ngoc stood by her side as Hanh explored various strange and unique performance styles.

In 2006, Hanh was one of the 27 artists from the Greater Mekong Sub-region to participate in the 2^nd Mekong Performing Arts Laboratory held from August to September in Hanoi , Vietnam . Hanh was one of the representatives from Ho Chi Minh City , Vietnam , alongside her aunt and a few other artists. There, Hanh learnt new skills and built memories.

Many people were arrested in shock when they learnt about her sudden passing in Thailand , exactly a year ago. We grieved for her death and now, a year later, we shall rejoice for the life she had led.

Today, we shall commemorate the life Hanh had and the lives she had touched as she went about her journey of learning and expressing herself through the arts.

On the last day of the Laboratory, as everyone bids their farewell to one another, Nguyen Si Hong Hanh (June 23, 1980 – November 12, 2006) sang,

“I don’t want to say goodbye”.

Indeed, the memories of her live on.

Romulus D’ Grayt - A Historical Swiss-Filipino Tie-up

2007-10-16T16:00:00.000+07:00

In today’s modern world, war comes in numerous shapes and sizes, in various faces and names. War is waged among nations on political and economic disputes. There is a fight against terrorism, a battle versus corruption, a crusade to counter injustices, a campaign to alleviate or eradicate poverty, an advocacy to address illiteracy. The list goes on but these struggles are not solely confined to individual initiatives or any single society. They also take credence from united forces as well. Take the Swiss-Filipino collaboration in Romulus D’ Grayt for example.

Romulus D’ Grayt opened on September 14 and will run until October 28 as the second offering for the Philippine Educational Theater Association’s 40th season at the PETA Theater Center in Quezon City. The play is an “unhistorical historical comedy” that zooms in on the reign of Romulus, the last emperor of Rome, who opted to be a domestic chicken breeder than to act against the peril of a Germanic invasion of his empire.

First staged in 2005 as commissioned by the Embassy of Switzerland in Manila with the Honorable Lise Favre, Swiss Ambassador to the Philippines at the time, saying,

“the idea to promote the adaptation of Romulus the Great came naturally in discussions with PETA people. After reading the play, they were thrilled by its universal relevance and the project slowly took shape.”

Adapted in Filipino by Jerry Respeto from Romulus the Great of Swiss author and dramatist Friedrich Dürrenmatt, “the comedy is about an emperor who himself corrupts power, who gives up an empire that only more wars could hold together because he gives more importance to people than to power,” explains Mrs. Charlotte Kerr-Dürrenmatt, actress-spouse of Friedrich.

The Swiss dramatist took some liberties in describing a historical story yet did not seek historical accuracy. Hence, the play’s subheading: “Ungeschichtliche historische Komödie” (Unhistorical historical comedy). Dürrenmatt took a character from history and tweaked his story as a platform to focus on the consequences of war and the ruthless use of power.”

“A Romulus might not be possible in the scramble for power and ideology struggles of the real world,” explains Mrs. Dürrenmatt. “However, we wish the powerful of the world some of his philosophical wisdom, tolerance and humour,” she points out.

With the support of a number of Swiss companies, the play enjoyed a rib-tickling success in 2005. “Due to continued demand for repeat performances, the play is again to be lovingly restaged by PETA in the country’s native language,” exclaims Peter Sutter, the incumbent Swiss ambassador to Manila. “I am most glad that the Swiss government as well as the sponsors are lending their support for the restaging of Dürrenmatt’s renowned piece and I look forward to enjoying the performances of PETA’s talented Filipino actors. Mabuhay to all who make this possible.”

Mrs. Dürrenmatt expresses that “a Romulus would be needed now more than ever for our world in turmoil. Thank you for bringing him back on stage for 36 more performances.” Romulus D’Grayt is presented in association with the Embassy of Switzerland in Manila and Mme. Charlotte Kerr-Dürrenmatt and with the support of media partner Manila Bulletin.

The play will be open till October 28, 2007 with shows at 2:30pm and 7:30pm on Fridays and Saturdays and 10am and 3pm on Sundays. Schedules, however, are subject to change without prior notice. For inquiries, call the PETA Marketing and Public Relations Office at 410-0821, 7256244, 0917-8154567, 0918-9354166 or email mpr@petatheater.com or petampro@yahoo.com. Visit our website at www.petatheater.com.

By Rb A. Andres

Archives: Yokohama Dance Collection Paper - Jose Jay B. Cruz

2007-10-10T11:00:00.000+07:00

My adventure in the 2007 Yokohama Dance Collection was a strange mix of accomplishment and a confounding sensation of failure. Together with this, was a rush of a hundred of different questions in relation to my location as an artist in the more global scale of
Contemporary Dance. Also, in conjunction with that question of location is an inquiry into my identity of being a Filipino competing side by side with other dancers in an Asian country and several individuals - Japanese and mostly Europeans who make up the jury.

Prior to the competition, my personal conviction has been to create works that will speak highly of my truth. Reacting against the cultural set-up of a collective, I have taken the notion that “the personal is political” frees the artist from a cultural imposition of which work is relevant or not. I was convinced that in this new perspective, artists from different parts of the globe can already engage themselves in a much leveled playing field.

But where does one anchor one’s self as an artist? My continued exposure to the world of contemporary dance has inversely increased the gap I have with my own community and the audience. One of course, has to consider that the issue of having the “audience” has been an elusive factor that has burdened the theater and the dance in the Philippines and maybe the world for so long now.

But this dilemma is always mistakenly described as an artist’ inability to communicate with its audience, failing to consider a plethora of other factors like the no cost accesibilty of T.V., the exposure and thereby the standard of aesthetics it sets, the high regard for its entertainment and
spectacle as opposed to other means of expression. In the end an artist is trapped in an existential drama lost between making sense of one’s self in between the pull of making itself relevant in one’s own community or in a bigger global community. Is there a way of being in both at the same time in the same amount of significance?

The Yokohama Competition has shown me one essential insight. I have come to a point where I think that every work of art should have the whole world as its audience. One should not get stuck in an eternal navel gazing without necessarily translocating oneself to a bigger community. But one should not get lost in a bigger community either. It should be an eternal shift of going within and without and back again, aware of the truth, context and dynamics of both as an eternal dance. As it is said – local and global. To what extent? that again is another point of departure?

The best thing about the Yokohama competition is a dialogue that the participants were able to have with members of the jury after the awarding night. It is a unique component that gives a participant an idea of how their work is seen. It is a crucial information that propels one to move
forward as an artist, understanding the bearing one has in the coordinates of contemporary dance.

The reception to my piece which is inspired by the poetry of a Spanish poet Jaime Gil De Biedma while found powerful by most of the Japanese critic was thought of being “European” as an inference in its failure of being awarded. The piece must have been a sort of a déjà vu trip to most of the European members of the jury (most of them directors of dance schools in France, England etc.) The images and representation the piece utilized while universal and powerful are also too familiar (as thought of) having been used by prominent choreographers from Europe like Pina Bausch as an example.

I was initially struck by this notion in shock for a while. I am a big fan of Pina Bausch thru my theater reading and also thru another respected teacher but how could I possibly have known that the images (long table for seduction, drinking glasses with water as foreplay and a metaphor for a mating ritual to name a few) were already images that other european choreographers have already been exhausted? I occasionally have been branded so many times of being avant garde here in my country which I would usually shun respectfully though, thinking that it will always be relative based on your geographical location.

The perception that contemporary dance is Eurocentric has become a real question for me now. I used to think that it is not important as long as I am able to create dances that mean a lot to me. But the more i get exposed to the global community of contemporary dance, the more persistent the perception becomes to me.

In my first Dance Conference in Singapore, a dance critic argued that globalization is nothing new in dance. Ruth St. Denis and other choreographers of her period were appropriating style and influences from the East and they were, through time, became significant figure in the history of modern dance. Could it be that the issue of globalization only becomes an issue of concern when a Filipino becomes a player in the same situation?

The experience has found me struggling in the midst of Post Colonial theorizing. How does one art transcend itself in the global arena outside the claws of post colonial perception? How does one defy one’s cultural experience being an artist from a former colony of 3 countries – Spain, Japan and America. How does one emerge at the center of Contemporary Art and emerge unscathed by the split – authentic vs. exotic.

I realized that I will never be free from the post colonial perspective until I face the challenge head on and address the problem, not by eradicating the notion but by exposing the dynamics of that perspective. As one respected teacher would ask me: re-territorialize or de-territorialize? One, I think, has to accept the reality and the inevitability of a cultural hegemony. One has to be able to understand that dynamics with eyes wide open and work its way out into that maze of complexity.

There seems to be several points of attack but where to start and which direction should be prioritized is also a much bigger challenge and question. And I would like to make a public call to young and emerging contemporary dance artists to also take this challenge. It is an exciting period of independence and I think that the contemporary dancer is the new man of the Theater.

First, the need for new representation. As we watch dance performances, we get accustomed to usual representations which become codes and symbols that become in due time a basic component. Unconsciously, we appropriate and re-appropriate the same codes and symbols and also get stuck in the same mold. It is about time to question, investigate and challenge these codes to allow a blooming of new codes and symbols that can become small windows to our own peculiar reality as a culture. As my company prepares for a major show in CCP, we found a new representation in an alley of second hand tv shops near the port area.

Also, i.e. the duet has been for decades a dance between a man and a woman that symbolically entails and exposes, the dynamics of the power relations between the gender. How can one challenge that traditional notion and be able to explore new territories?

Second, from the utilization and appropriation of “images” to issues of its contemporariness, from process of creation to movement style or influence, and also themes and issues are all very complex points to ponder. But this is absolutely the time to ponder, to challenge, to explore and expand.

Third, there must be a way of seeing and claiming, by symbolically identifying my body as a Filipino, in a point of transition from traditional to contemporary, bringing its past and present in a dizzying period of its search for identity and future. A meeting point that exposes and claims its confusion.

Last, Isolation is dangerous!

The concept of 'otherness' is also integral to the understanding of identities, as people construct roles for themselves in relation to an 'other' as part of a fluid process of action-reaction that is not
necessarily related with subjugation or stigmatization - Emmanuel Levinas.

In the end the Yokohama Competition is not about winning…but the experience of being able to reach a crucial period, a junction, a crossroad, a cliff, a brief encounter with death. That opportunity is a gift…that ushers and enforces one to see himself in a new light, a new clearing, a new potential for growth.

My brief encounter with death turned out to be a gold mine to pursue new territories. A new lease in life! And I am reminded of a short blissful moment in the studio of Japan’s most revered butoh dancer Kazuo Ohno. In his studio I found my bearing again sans the anxiety of the competition. The generosity of Yoshito Ohno, his son, was an unbearable connection to the biggest wisdom about life – Death. I was filled, several times, in front of him with an uncontrollable urge to weep.

In the company of Jaime Gil de Biedma, Jean Genet and now, Kazuo Ohno, I have found kinship. In front of death we are all just helpless creature who are trying to make sense of our own existence. Our Art was our salvation until Death embraces us for good.

- Jose Jay B. Cruz

Archives: In Search of a New Paradigm - Jose Jay B Cruz

2007-10-10T10:00:00.000+07:00

In search of a new Paradigm
Thoughts about the round table discussion
Making Cities More Human
Instituto Cervantes Manila
July 31 2007

I am writing to express why I think conferences like “Making Cities More Human" an important achievement and why events like these have to be commended in the hope that cultural institutions like Instituto Cervantes, in the hands of directors with vision, pursue activities that fills up the gap in creating a real valuable cultural cooperation between countries of colonial relationship just like the Philippines and Spain.

I am writing to exercise my option to care about things that are important. I am writing having understood after the discussion that there are big questions but the answers are initiated by caring about small things. If one cannot work from top to bottom one has the option to work from bottom to the top. I am writing because I want to salvage the last remaining bits of idealism in me that the two senior spanish gentlemen have not lost as shown in their work.

Manuel Delgado Ruiz’s radical ideas about issues regarding cultural heritage is a goldmine that supplies the necessary shifts in paradigm needed to view big questions of the 21st century. It is a helpful perspective regarding conflict management in urban settings vis a vis issues in space and territory. In his view, I have come to realize that even cultural heritage is a continuing negotiation between people from different sectors occupying the same space and/or reality. That in our streets are found the most obvious path in understanding the cultural psyche and that instead of walking past through it annoyed and dismissive, one can spend a little more time in seeking why it is such.

Senior Ruiz’s idea that “prostitutes” can be considered a cultural heritage because through them we find a glimpse of a living culture is a radical shift in paradigm in understanding the length and breadth of the concept of heritage and patrimony. Cultural heritage is not just the conservation of historical landmarks. Misled cultural preservation could be just sentimentalism harking about things that have come and gone. Coming and going is a perennial reality of life. There is nothing we could do about it. But the definition of a cultural heritage that will empower the lives of the next generation and ensure a much better life is on a daily basis negotiated in the street of Manila. We are all living cultural heritage in action. It is not just some old hispanic building that is iconic of a period in history.

As an artist struggling within the post colonial discourse, it is important that I see myself as a living agent of cultural heritage. Because in this new perspective I have freed myself from the guilt ridden authentic versus exotic construct. In this new view, every individuals reality and voice partakes of the many voices that defines a culture. A culture is the summation of all these.

But, in this new view too, an artist has to be aware of other voices that he may not be listening to. It is not a singular voice. It is also the voice of the workers, the scavenging communities in payatas, the street vendors that clog the major thouroughfares in Manila, the jeepney drivers who romps the street unmindful of road lanes and designated stops, the afternoon crying faces in the T.V show Wowowee, the baduy movies in Pinoy Box Office. They are all part of a cultural heritage that we don’t want to dismiss lest we keep ourselves divided and left in the middle of that dichotomy, puzzled and clueless.

The street as a living space seems to be a very simple idea. But in further examination one can extract from it valuable insights in understanding something more profound. The interaction that transpires in our street whether in harmony or in opposition creates the cultural identity. The social issues that springs and evolves therein create a national identity. It’s funny that we have been searching for that identity when the answer was just right in front of us. It is funny that a simple perspective presented to us opened a big window to that perennial question.

The same perspective, if given much thought and seriousness could fill the gap between art and entertainment. Public spaces can be seriously seen as an alternative venue to expand the awareness of a population whose limited exposure to TV needed a more diverse exposure into the Arts.

Given this perspective it becomes relevant that a continued dialogue between individuals, sectors and cultures become the paramount call for action. Heightened interaction, inclusion. In other words increased social capital - a core concept in business, economics, organizational behaviour, political science, and sociology, defined as the advantage created by a person's location in a structure of relationships.

Andres Perea Ortega’s new model is a utopian society in the form of la Ciudad Administrativa Multi- Funcional de Corea. From the realm of ideas brought to us by Ruiz, Ortega in turn brought us to the realm of reality. A city in peripheral – ring type structure that ambitiously claims its design is an unwritten book that will allow its citizen to write their own history.

I can’t help but be awed by the guts of this architect to herald a city with no spaces of representation, no historical building, no iconic landmark. It is a true revolution in idea which invites a monumental debate. In this construct, it aspires to dissolve the division of a public and private sector where respect and integration of citizens are addressed. It aspires for harmony between nature and building. It is genius and willful in finding an architectural solution in the increasing aggression of urban living in the 21st century. It is mind blowing.

With these new perspectives we are given a living example of individuals who embrace reality and pursue alternatives of seeing the world to find a process that allows a change. It is important that we meet people like these as a living testament that idealism itself takes on a different meaning. It is not keeping grimly and determined with your idea of what life should be but in accepting how life is as you experience it and shifting your perspective to attain maybe, a more appropriate ideals. I have understood that to teach people to think differently is probably not to dump ideas as much as you can but to find an infrastructure that can allow that change. It’s a healthier way to see the world. A kinder way.

As an artist born in a country of a colonial history, the bulk of my work is to find a new perspective to see my world and discover an infrastructure that could work for me. Then I can also spell what kind of a cultural cooperation is good for me. What kind of a paradigm in terms of cultural exchange I should aspire for. It should be a paradigm that allows a mutual discovery of unforeseen possibilities. A paradigm that will entail an infrastructure wherein I can increase not only interaction but also negotiation to empower myself. Then in return I can go back to them and present my discovery in the form of a new shift in perspective. In that case they are also learning from me.

- Jose Jay B Cruz

Archives: 2nd Mekong Performing Arts Laboratory (Hanoi, Vietnam) - Artistic Director's Reports

2007-10-09T10:00:00.000+07:00

The Second Mekong Performing Arts Laboratory held in Hanoi, Vietnam produced seven short performances that explored the issues of People with Aids, body politics, male and female sexuality and stereotyping as well as gender equity.

The performances began with “An Island of Solitude” by Zhang Yinzhong from Ruili, China. A solo modern ballet piece, that portrayed the struggles of a person living with aids. The victim struggles along the line of life and death. He feels his soul exists in an island of solitude. He experiences the full range of emotions from fear to enduring love for life. But his external senses resonate inwards toward self knowing and he struggles to carry on.

Tran H’uu Trang Cai Lung Theater from Vietnam created a two woman show that mixed poetry, dramatic narrative and Cai Lung singing to tell the story of Hanh a young woman in a drug rehabilitation center. She is making progress until she learns that she is HIV positive. One night she decides to leave the center and take revenge on those who caused her drug addiction. Lost in the forest, she meets the ghosts of her past who haunt and taunt her into exhaustion. She awakens with an old woman beside her who sings to her of her own son who died of aids and left a diary about his journey. This strengthens hanh and she decides to go back to the rehabilitation center to go on with her life.

Another performance from Vietnam explored the modern dance genre. Youth Theater Hanoi together with Philippine choreographer Agnes Locsin created “Stereo Man” through movement and dance four male dancers captured images of men as society has shaped them to be. But to be human is made of two parts – the yin and the yang, masculine and feminine. But only one side is allowed to be shown and therefore the unbalance exists.

The young people of Circus and Awareness Theater Troupe Phare Ponleu Selpak of Cambodia once again, utilize circus as well as narrative as a form of storytelling for their performance “Hope”. The simple narrative of 2 orphaned sisters working in a construction site with the eldest developing a good relationship with a co-worker while the youngest sister is molested by the boss is interspersed with circus, juggling, contortion and balancing acts which gives this group it’s colorful appeal. The story is concluded by the sisters running away together with the co-worker and their starting a life in the Circus.

The puppet theater group Kabong Lao of Lao PDR experimented with its t’s puppetry form by using dialogue and narrative as it tells the story of a young woman who must pay for her father’s debts. She attempts suicide in desperation but is foiled when a man saves her. She eventually marries this man and soon after they have a child. They conflict over the child’s gender as the wife wants a boy since for her a girl has no freedom or equality in their society. While waiting for the birth of their child the doctor advices the man on how to nurture their child wither it is a boy or a girl.

Thailand brought together four theater groups that produced two contemporary works.

Saosoong Theater and Art Addicted created “Sinderella” a comedic piece utilizing multimedia arts that tells the story of Sindy a full figured woman lacking in self confidence who joins a contest to win a chance to sing with a Korean Superstar, Rain. She makes it to the final round and in her fervent desire to win consults a fashion genie on the internet at www.fairyGodMother.com for a beauty makeover. On the night of the contest, she is humiliated and realizes she does not have to be anybody else other than who she is.

Crescent Moon B-Floor and Bang Play Educational Theater Group created a dark comedy entitled “Purgatory” that took off on the premise: what if three women after their deaths come to meet in purgatory endlessly doing laundry and relieving their desperate lives on earth. They ask what is gods plan for them? Later, they are surprised to discover that God is a woman. She/God tells them their situation can only change if they take command of their lives. Purgatory is a place they have created for themselves.

Reflections

The 2nd Mekong Performing Arts Laboratory brought together a different blend of Artist and art practitioners. There were more art managers like the representatives of Saosoong Theatre Company as well as the participant from art addicted. The group was also composed of younger artists whose experience primarily centered on performance. I take note of this aspect because this I feel has a significant impact on the level of artistry that the performances attained. The strongest pieces came from the presence of more senior artist whose experience in creating storytelling or structuring dance and imagery were quite evident. Stereo Man benefited from the presence of Philippine Choreographer Agnes Locsin who created a short but powerful piece on the male images that was both clear and aesthetic. Then there was the “Purgatory” performance of Crescent Moon, B-Floor and Bangplay that choose a sophisticated and comedic premise to explore the discourse on women creating their own purgatories by not releasing themselves from their pain, guilt and societal roles. Both performances managed to achieve an effective interplay of artistic form and content as well as translating itself clearly to the audience. The solo dance performance of Zhang Yinzhong is also commendable as he tried to capture the emotions of an isolated individual. The dance captures this universal theme which maybe assigned to other situations beyond sexuality, reproductive health or HIV Aids but never the less we can enjoy his sincere performance within the context of our theme.

The challenges of developing text or story structures has always been present in the Laboratory experience. Obviously we recognize that the artist come from different disciplines, not only theater but dance and the visual arts, but this year I felt this in a more evident manner. The simplistic storyline in the Cailung theater of Vietnam, Cambodia’s Phare Ponleu Selpak Circus Troupe and Saosoong Theater of Thailand were very much wanting in terms of structure, action and plot and a nuanced understanding of the issue. The challenge of introducing these so called “western” concepts does not escape me or that we must find a more organic manner to introduce tools of dramatic structure while respecting the organic manner of storytelling that lies within their own cultural and aesthetic practice. I will not comment on our participants Artistic forms for they are what they are. But for me the workshop challenge is to lead in their better understanding of storytelling and grow into producing more Literary expressions of their advocacy’s.

I think I said this in my first report and I will reiterate that creation of successful advocacy art is very much grounded in the understanding of the issue and its translation into a fine aesthetic expression, keeping this in mind I can only hope that every lab gives us the insight we need to finally formulate a precise process in which we can teach the fine art of story making and performnce if that is at all possible. Nevertheless working with this years batch was still an enjoyable and educational process because they will always bring with them varying forms of expressions and experiences which at the end of the day is one thing that really matters.

New Student Interns in PETA Mekong Partnership Project

2007-10-08T10:00:00.000+07:00

Recently, two interns from Ngee Ann Polytechnic (NP), Singapore, have joined us at the PETA Mekong Partnership Project for a five-month Overseas Industrial Attachment Programme (OIAP) organised by the school.

On 17 September, Avie Mercado and Nurun Nisha began their five-month internship programme in Bangkok with PETA. The girls flew in from Singapore a few days prior to the internship programme to take in the new environment and adapt to being outside their comfort zones. Both interns are going through this internship programme for their final semester assessment to complete their Diploma in Mass Communication in March 2008.

Through the OIAP, students will undergo a comprehensive training plan set by PETA to provide them with the essential knowledge and fundamental experience of the working world before they graduate. While final year NP students were given the choice of completing their final assessment locally or abroad, Avie and Nisha have opted for the latter.

Through a meticulous and long selection process, the liaising officers in Singapore short-listed the girls for the internship positions available with PETA, where the Supervising Officer, Lea L. Espallardo, was prudent in making the decision of finding suitable interns for PETA.

As part of the training programme, Avie and Nisha will be part of the Secretariat Team for the 3rd Mekong Performing Arts Laboratory (Cambodia Laboratory 2007) in Cambodia from 25 November to 16 December, 2007. As both interns have never visited Cambodia, this experience will truly be an eye-opener and provide them with the opportunity of having a fortifying experience during their training.

Apart from that, the girls will also be following the Bangkok team to Manila come January next year to complete their OIAP at the PETA Head Office in the Philippines. Upon completion of the five-month training programme, Avie and Nisha hope to gain a broader perspective of the dynamics of working in an organisation dedicated to the arts and education.

Profiles -

Nurun Nisha (on the left) is going through her last stretch of her academic year in Mass Communication with absolute excitement about being in Bangkok. Prior to coming to the land of a thousand smiles, she was gladly missing out on social life to major in her three favourite electives; Documentary Production, Advanced Advertising and Creative Advertising. She worked in various industries since she was 16, from serving tables at hotel ballroom functions to being an intern at a film production company based in Singapore. Although she claims that she has never really understood art, Nisha is seriously considering getting to know the arts scene better as she has never really “took the time to appreciate the deeper meaning of life”.

Possessing a keen eye for photography and design, Avie Mercado is anticipating the endless days of being surrounded by the picturesque sights in Bangkok. Having spent most of her growing years in Singapore, she is psyche to learn about the working world abroad and experience various cultures, at the same time, getting in touch with her roots, which is the Philippines. A jack-of-all-trades, she took up Public Relations, Print Journalism and Photojournalism for her final year electives. She also has had experiences in various companies while working part-time during her academic years. When asked about the 5 month overseas exposure, she says, “I hope I would be able to learn as much as I can and that I would be able to make a difference, no matter how small, to the people I work with and to the countries I would pay visit to.”

Welcome to PETA - Home and Beyond Blog

2007-10-08T09:00:00.001+07:00

Dear PETA Members & Partners of the PETA Mekong Partnership Project,

We are happy to introduce to you the newly created blog site of the PETA Mekong Partnership Project… Home and Beyond

About Home and Beyond -

Home and Beyond is an integrated communication tool for the PETA members, staff and partners of the PETA Mekong Partnership Project. It consists of a weblog and occasional e-newsletter containing project news updates, reflections, journals, messages written for internal reading/sharing of members and alumni of PETA and its Project partners. Members can share their thoughts and reflections on our practice of theater and cultural work within and beyond the boundaries of our “homes”.

Home and Beyond provides avenues for a more informal exchange and open dialogs among performing artists, theater/drama practitioners, and cultural workers from the Southeast Asia Region to encourage critical reflections and sharing of insights on theater and cultural work.

This also aims to maintain closer communication links and relationships between and among PETA members and Project partners through the sharing of personal experiences, opinions, feedbacks, and reflections on our respective roles as artists.

Members, staff, and partners are encouraged to post short articles, their encounters or thoughts on theater praxis and cultural work, and share photos on the weblog.

We request that members, staff, and partners who own Gmail accounts to email us at peta.sea.group@gmail.com, so that we may add you to the list of Contributors. If you are not familiar with posting on a blog, you may also send them via email to peta.sea.group@gmail.com and we shall be the ones to post it for you.

Timely entries will be featured in the occasional Home and Beyond e-newsletter and sent to members and partners of PETA via email.