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NOTES. Several Mindanao tales are woven into this multi-media production. A transcreation from these various sources, the play paints a Mindanao picture and evokes a feeling from various images, expressions, and indigenous narratives.
Two brothers fight against the darkness enveloping their territory. In the backdrop, images of contemporary representations of darkness (war, hunger, evacuation, environmental destruction) are shown. This multimedia approach weaves digital images, puppetry and masks, music, chants, chorus, and poetry.
The main performance idioms are nonverbal contact improvisation and neo-ethnic Philippine movements particularly Bagobo and the Tausug pangalay.
This is the Noah’s ark story variant from among the Bukidnons where the crab takes a central position in the tale. The Indarapatra tale has Sulayman bidding Indarapatra goodbye to help the people of Mindanao fight against the four curses/monsters. Sulayman is successful only until the third monster. He is killed. Indarapatra learns of Sulayman’s death through the wilting of the vine/plant which he plants before his brother’s journey.
With the initial images conjured, the figures of the crab (water sign) and monsters (fire signs) fit appropriately with elements that symbolize the conflicts in the visual narratives. The play produces powerful feelings in the viewers in new media and digs from our own indigenous founts. To reinforce these feelings is a perception of Mindanao shaped by the combination of images, sounds, gestures, symbols, and all other creative expressions. In the use of Semiotics through the new media, the work progresses and new layers pad the work’s substance.
Feel, then thoughtful response to the work is the reaction intended. While there is a semblance of plot (or some linear narrative), the whole point is uniting a thematic logic.
The powerful responses emanate from the merging of all the creative expressions produced in multi-media: drama, dance, chants, poetry, visuals in the sets, film, properties, and puppetry (three-dimensional and shadow), and music.
The set itself is a montage. Lines and shapes are simple so as not to contrast with the multi-colored costumes and multi-layered movements of the actors. Plain whites are the main motif. Puppets are hung or manipulated behind large white screens that are embedded in the sets. Film is projected to screens. Battens support the puppets, flown sets, and the hoisted male actor-dancer who will do dancing scenes in a hanging rope.
Music adapts from indigenous motifs evoking an indigenous feel. To apply thicker orchestral textures, music is digitally recorded for “plus one” playing reinforcing the singing and chants of the actors’ ensemble.
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