defining dulaang sibol

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Defining Dulaang Sibol

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

What is Dulaang Sibol? I. Dulaang Sibol is a THEATRE.

It was blessed and inaugurated on a Saturday, 14 August 1976. It is actually the front portion of the High SchoolCafeteria. It is an air-conditioned intimate theatre with 159 upholstered seats.

II. Dulaang Sibol is a THEATRE MOVEMENT.

Dramatics, as Fr. Miguel A. Bernad of the Society of Jesus puts in his book, Dramatics at the Ateneo, has always been regarded as an important part of Jesuit pedagogy. In an effort to encourage the whole student body toactually experience this ³important part of Jesuit pedagogy,´ the Sibol Repertory Theatre Group, in cooperation with the Filipino Department, has sponsored a number of school wide projects in theatre, with Dulaang Sibol

Theatre as the venue.

In 1967, the Paligsahang Pandulaan, a contest in the writing and mounting of original one-act plays, was begun. In 1975, theTimpalak sa Sabayang Bigkas, a contest in theatricalized choral recitation, was started. In1975 also, the Timpalak-Awit , a contest in the writing and choral performance of original songs, was initiated.In 1977, Alay Kay Maria, a Marian choral concert featuring different singing groups and musical artists both inand out of the Loyola Heights campus, was introduced as an annual affair to honor Mary¶s birthday.

In 1991, in an effort to prepare Ateneans to reach a wider audience through mass media, changes were made inthe annual contests. TheTimpalak sa Sabayang Bigkas was limited to first year students. TheTimpalak sa Dulang Panradyo, a contest in the writing and mounting of original radio plays, was introduced to second yearstudents. The Paligsahang Pandulaan, now known as the Timpalak sa Dulang Pantanghalan, was held for

third year students only. The Timpalak sa Maikling Pelikula, a contest in film making, was initiated for fourth

year students. Significant products of these competitions are the now nationally acclaimed play ³Paglilitis niMang Serapio´ by Paul Dumol and the now nationally performed song ³Hindi Kita Malilimutan´ by Manoling

Francisco.

In 1 December 2000, the newly renovated Tanghalang-Onofre Pagsanghan was, again, inaugurated. Therenovation included: the replacement of 131 old seats, the addition of 28 new seats and the beautification of thefoyer.

III. Dulaang Sibol is a REPERTORY THEATRE GROUP.

This is also the Core Group of Sibol.

As a repertory theatre group, Dulaang Sibol grew out of the Ateneo High School Dramatics Society. Among itsearliest performances were three one-act plays presented in 1956 at the St. Paul High School Auditorium on



Herran Street. It started catching public attention with a series of Shakespearean plays, performed in a grandscale at the High School Covered Courts. Among these were Macbeth, Julius Caesar and Hamlet .

In 1966, the group presented at the Ateneo Law School Auditorium in Padre Faura in public performances itsfirst Filipino plays, two one-act plays: Julian Balmaceda¶s ³Sino ba Kayo?´ and Soc Rodrigo¶s ³Paa ng Kuwago.´ With its presentation of its first Filipino plays, the group gave itself a Filipino name: Dulaang Sibol.

Sibol is a root word that catches the spectrum of young images with the addition of affixes. Sibol suggests aspring, a brave burst of crystal clear water; or a sprout, a sprig, green with promise and optimism; or the seasonof springtime itself. A root word, rather than a finished word was chosen to connote a beginning, a start, anintroduction to theatre.

In an article for an Australian magazine, Fr. Miguel Bernad, SJ, translates Dulaang Sibol into ³A TheatreForever Young´ with a measure of accuracy; for indeed, much as the group dates back to 1956, the members arealways high school students in their mid-teens with the vigor and idealism of the young.

By 1972, Dulaang Sibol evolved into a repertory theatre group.

Every movement, if it is to succeed, must have a dedicated core group that can be depended upon to pour outselflessly of its time and talent to spearhead the movement. In a theatre movement, a core group is needed to do big jobs and small. To organize the various projects and finance them. To write plays and light them. To act in

the plays and advertise them. To order tickets and sell them. To make posters and post them. To welcomeaudiences and usher them. To open doors and lock them. To complete theatre facilities and clean them. They are the playwrights and the lights men, the lyricists and the composers, the carpenters and the directors, theactors and ushers, the financiers and the janitors. A core group is needed to serve the whole school in its theatremovement. ³Men for others´ are necessary in theatre.

On Sunday, 7 December 2008, 6:30PM, the Dulaang Sibol, together with Ateneo¶s other home grown and award-winning groups Ateneo Boys Choir, Ateneo High School Glee Club, Ateneo College Glee Club, and Ateneo Chamber Singers, will regale fans with thesongs that have made them distinct and popular through the concert Take and Receive: The First Festival of Ateneo Music, at theChurch of the Gesù, Ateneo Loyola Heights campus.

They will perform with the Jesuit Music Ministry artists, Blue Symphony, Bukas Palad, Himig Heswita and Musica Chiesa.Distinguished Filipino musician and composer Ryan Cayabyab¶s medley arrangement of the different ³Take and Receive´compositions by the Filipino Jesuits will be one of the highlights of the concert.

Take and Receive: The First Festival of Ateneo Music marks the Ateneo¶s 149th anniversary, the year of ³Deepening Spirituality,´ the

second theme of a three-year countdown to Ateneo¶s 150 th anniversary, or sesquicentennial. Ateneo de Manila University willcelebrate its sesquicentennial on December 10, 2009 with the theme ³Building the Nation."

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

HISTORY

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



Performing companies representing dance, music and theater reside within the CCP.It has four resident dance companies: Ballet Philippines, Philippine Ballet Theatre,the Ramon Obusan Folkloric Group, and the Bayanihan Philippine National Folk DanceCompany. Tanghalang Pilipino is the CCP's resident theater company while music isrepresented by the Philippine Philharmonic Orchestra, the UST Symphony Orchestra,

the Philippine Madrigal SIngers and the National Music Competitions for Young ArtistsFoundation (NAMCYA).

The CCP also covers the mass media as well as the literary and visual arts,encouraging the growth of aspiring artists in these fields through numerousworkshops, seminars, anthologies, exhibits, symposia as well as competitions andawards.

Through its Cultural Exchange Program, the CCP supports the growth anddevelopment of arts councils all over the country thourgh relevant workshops andseminars. In addition, the CCP has also established ties with various international

organizations such as the Association of Asia Pacific Performing Arts Center, theConseil International des Organisations de Festivals de Folklore et d'Arts Traditionnels(CIOFF), the World Dance Alliance and the International Theater Institute. Throughexchange programs with these organizations and with other institutions, Filipinos havebeen able to glimpse the beauty of different cultures from various countries,withnessing many a triumphant performance from highly-acclaimed artists all over theworld.

The CCP continues to nurture and promote artistic excellence, Filipino aesthetics andidentity, and cultural values towards a humanistic global society. With the CCPBusiness and Master Development Plan now being implemented, the CCP complex is

poised to truly becoming a mecca for arts and culture in Asia.

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



PETA has been known and credited for creating issue-based performances that mirror and reflect the

times ± and for its fearless delivery of truth through a palette of theatrical forms. Now on its 42nd

Theater Season, PETA continues to contribute to help bring about social awareness and change

through its productions, performances and workshops, as it calls on its audiences to act and respondto the clarion call that hound the Philippine society. Using fresh, innovative and interesting techniques

and approaches, PETA welcomes its new theater season as a renewed challenge to test and push the

capacity of art in to inform, influence and inspire its audiences.

First on its list of productions is Nic Tiongson¶s opus, Noli at Fili Dekada Dos Mil, an adaptation of Jose

Rizal¶s two most influential novels: El Filibusterismo and Noli Me Tangere. Reworked as a postmodern

narrative, Noli at Fili Dekada Dos Mil is inspired by real events, characters and testimonials that arose

during the landslide in the Quezon province. The story, which revolves around small town politics and

the fight against corruption, also zooms into the problem of illegal logging and its corrupted relation

with governance and religion.

Following Noli at Fili is Christine Bellen¶s Mga Kuwento ni Lola Basyang. Now on it¶s third year, Mga

Kuwento ni Lola Basyang still remains to be one of PETA¶s most-loved productions. Featuring storiesfrom Severino Reyes¶ folktales, Prinsipeng Mahaba ang Ilong, Ang Babaeng Tumalo sa Mahal na Hari

at Prinsipeng Duwag ± Mga Kuwento ni Lola Basyang presents different mythical stories about self-

discovery and values formation.

In August, PETA celebrates the 20th anniversary of the Declaration of the Rights of the Child through

its presentation of Ismail at Isabel (Ang Paghahanap ng mga Bagong Kuwentong Bayan), a moving

story about two children, a Christian and Muslim, who once lived happily in their small village in

Dilangawen, Mindanao. Blind to their differences, the two told and retold the folktales that narrate the



likeness of Muslims and Christians ± until the fearsome war reached their community and permanently

broke their innocence.

In time for the 2010 elections, PETA creates a vaudeville style musical, Boto-boto-boboto-bonana-

fanna-fo-foto-fee-fy-momoto-boto (BOTO Another Musical), that uses iconic characters of the

Philippine electoral process: Lorrie Logarta, Chix Pedero, and popular terms such as µtrapo¶, µispits¶

(speech) and many others. The story, cast with 10 actors with interchanging roles and characters, alsofollows the electoral process, beginning with the voter¶s registration and ending with the need for

vigilance after elections.

The four productions, which officially begin on June 2009, also commence PETA¶s renewed

commitment to artistic excellence as it cradles a people¶s culture through its use of theater that is

distinctly Filipino.

http://peta1.wordpress.com/

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

Carlos Palanca Memorial Awards for Literature

History

The Carlos Palanca Memorial Awards for Literature was established in 1950. The heirs of Don Carlos Palanca, Sr . thought it fitting that his memory becommemorated in an endeavor that would help enrich the country's culturalheritage.

The aims of the awards have been:

1. To help develop Philippine Literature by providing incentives for writers to craft their most

outstanding literary works. 2. To be a treasury of the Philippine¶s literary gems from our gifted

writers and to assist in itseventual dissemination to our people, particularly the students.



The awards started with the Short Story category in English and Filipino.

Through the years, as the awards elicited over whelming response, new categories were added: One-act Play in 1953, Poetry in 1963, Full-length Playin 1975, Essay in 1979, Novel in 1980, Short Story for Children in 1989,

Teleplay in 1990 and Screenplay in 1994. In 1997, three categories wereopened. These are the Iluko, Cebuano and Hiligaynon Short Story in theRegional Languages Divisions. To encourage writing by our youth, the specialKabataan Division made up of the essay category in English and Filipino, wasopened in 1998. In 2000, a new category was added ± Futuristic Fiction, aseparate genre of the short story that involves a looking beyond into the futureto transcend the boundaries of the present. And in the year 2009, two new categories were added Poetry for Children in the English Division and TulangPambata in the Filipino Division, to encourage both aspiring and veteranFilipino writers to focus their attention to crafting masterpieces that will moldchildren's sense of nationalism.

At present, the Carlos Palanca Foundation already has, in its collection, 527short stories, 366 collections of poetry, 208 essays, 344 one-act plays, 182full-length plays, 60 teleplays, 54 screenplays, 148 stories for children, 34futuristic fiction stories, 77 student essays, 36 novels, and 16 collections of poetry for children. These works are compiled and made available to allresearchers and lovers of literature at the Foundation library and its officialwebsite, www.palancaawards.com.ph.

The winning works for the first twenty years of the awards were printed inanthology form in 1976, 4 volumes in Filipino, Isang Kalipunan ng mgaNagwagi sa Carlos Palanca Memorial Awards, 1950, 1970 and 4 volumes inEnglish, An Anthology of Palanca Memorial Awards Winners, 1950, 1970. The books were distributed to public and private colleges and universities all

over the Philippines through the National Library.

These were followed in 1990 by the printing of Antolohiya ng mga Nagwaging Akda, Dekada 80, three separate compilations of Dulang May Isang Yugto,

Maikling Kuw

ento and Tulaw

hichw

ere published in cooperationw

ith AnvilPublishing, Inc. In the year 2000, another publication, An Anthology of Winning Works, the 1980's came out. It was three separate compilations of

One-act Play, Short Story and Poetry.

For the benefit of students and researchers outside Metro Manila, especiallythose in the provinces, book-bound photocopies of the Maikling Kuwento from1993 to 1997 were donated to universities and colleges nationwide.



The writings are available in the Foundation Library and in schools all over thecountry. These works stand out in literary form, style and message. Studentsresearching Palanca Award winners as part of their class requirements learnnot only the correct forms of writings but also glean from these works the

moods and aspirations of our country and our people.

In 1975, eight award-winning plays were produced and presented to the publicat the Little Theater of the Cultural Center of the Philippines and culminated

with a presentation at the Luneta Grandstand.

The Palanca Hall of Fame was established in 1995 and is presented to aPalanca awardee who has achieved the distinction of winning five first prizes. There are now 22 Hall of Fame awardees.

In 1996, the Palanca Awards began conducting Creative Writing Workshops.

Dramatic readings of award-winning works have also been presented incolleges and universities.

The citations and awards conferred to the Palanca Awards are:

y Tanging Parangal in the Gawad CCP para sa Sining in 1992y Gawad Pambansang Alagad ni Balagtas by the Unyon ng Manunulat sa

Pilipinas in 1993y The UNESCO, in the celebration of its 50th years in 1995, included the

Palanca Family and the Palanca Awards in the UNESCOy List of Living Human Treasures of Artists, Writers and Artisansy Plaque of Appreciation from the Philippine Board on Books for Young

People for its unstinting support for the promotion and development of children's literature in the Philippines in 1995

y Anvil Merit Award in 1997y CCP Centennial Honors for the Arts, in 1999y Gawad Tanglaw ng Lahi by the Ateneo de Manila University in 2001y Special Citation for the Carlos Palanca Memorial Awards Anthologies by

the Manila Critics Circle in 2001y Appreciation to the Carlos Palanca Foundation for its Scholarship Grant

in Creative Writing by the University of the Philippines in 2002.

y Gawad Pagkilala by the Komisyon sa Wikang Filipino in 2004



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

defining dulaang sibol

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