Filipino American theater

Filipino American Theater ranges from topics such as Filipino/Filipino-American history to modern Filipino issues. The themes for these works were mostly influenced by the Spanish colonial rule as well as the American colonization. Filipino theater is not only made up of colonial influences but also pre-colonial and post-colonial influences which gives the audience a better understanding of the effects of the colonialism within the country. Contemporary issues are also a huge trend within the community since the audience can relate to it more. Some common theatrical plays done by Filipino theater focuses on the historical background of the Philippines and the relationship between the Philippines and the United States. Some Filipino American productions provides personal, societal and cultural perspective from the past to now. The history of the Filipino American theater starts with indigenous tribes and their rituals then the colonization of Spain and their influences which then leads to the influences of the Filipino American War. Filipino American productions ranges from original playwrights to adaptations being done in the Philippines.

History of Filipino American theater

Most themes for Filipino-American theatrical works are focused on the historical background of the country such as the Filipino-American War, Martial Law and the dawn of Filipino independence. It is a form of expression and storytelling within the community that promotes life lessons and historical facts. The earliest form of theatrical work started with Indigenous theater which mainly performs “rituals”. These rituals branch off to different subgroups such as mandadawak, catalonan, bayok and babalyan which derived from names of indigenous groups within the country.[1] Although these rituals may seem purely cultural, there is also a huge religious influence over these rituals and to this day they are still practiced by specific groups. Other than tribal rituals there are also tribal dances that are practiced depict significant tribal activities within the community.

During the Spanish colonial rule within 1565 to 1898, Filipinos never failed to find a way to cope with this regime.[1] During the colonization of Spain, Christianity heavily influenced the lives of Filipinos which lead to religious pieces and performances throughout the country. The most important group of plays influenced by Spain is called komedya which varies between two themes: the secular and the religious.[1] For example, a play called Tibag which talks about the search of Elena and Constantino for the Cross of Christ is still performed in some towns.[1] Although this religious play is still performed, the most important religious piece to this day is called the sinakulo or commonly called the passion of Christ which is usually performed during the Lenten season.[1]

Between 1878 or 1879 another form of performance called sarswela was introduced to Filipinos.[1] The main theme of sarswela revolves around the love story between different social classes which made the dramatization more interesting.[1] Dalagang Bukid (1919), was the most popular piece of sarswela within the culture. To this day there aren’t many provinces that practice sarswela yet the only known province to practice sarswela is Ilocos Sur.[1]

During the 19th century, Spain introduced drama which is a play that is usually done within one act. Drama mainly focuses on the contemporary lives of Filipinos. Drama had three subgroups which included: (1) melodrama which aimed to make people cry, (2) comedy which aimed for people to laugh and (3) drama simboliko which taught the audience some symbolism within the storyline.[1]

From 1901 to 1946, the American colonial regime affected Filipino theater.[1] On November 4, 1901 the Sedition Act was enacted in the Philippines.[2] With this law it was prohibited for any type of media or speech to go against the United States. The most common type of piece within this period called bodabil[1] which is a play in words from the type of entertainment within the western culture, Vaudeville. Bodabil is more of a mixture of songs and other type of performances which portrays what is popular in the United States. During the 1930’s Filipino’s were legitimately exposed to western theater and western classics.[1] With this it heavily influenced Filipinos to assimilate to the American culture and into American theatrical standards.

The earliest involvement of Filipinos in international theater started with the Ma-Yi Theater Company in 1989.[3] In 1991 the National Asian American Theater Co., Inc (NAATCO) was founded and is also a company that involves Filipino American plays and Filipino American casts. Another organization that proudly organizes Filipino play-wrights called Sining-Bayan focuses on Filipino/American History as well as politics. [1]

Filipino American Productions

Some plays were documented either orally or through scripture yet these organizations depicted each topic in a way that it could educate its audience.[4] The earliest documentation of production within the community started with the play called Isuda Ti Muna/They Who Were First in 1973. It mainly encircles the lives of Filipino agricultural workers in central California. The following year Mindanao (1974) came out in which talks about the land rights if Filipino Muslims and farmers in Mindanao.[4] In 1976 a play called Tagatupad came out with a focus on the struggles of antieviction laws within the working class Filipino community.[4] One of the most controversial plays within this time called The Frame Up of Narciso and Perez (1979) basically focuses on the murder of Narciso and Perez’ patients at a Veterans Administration Hospital.[4] Within the same year, Visions of a War bride (1979) focused on a Filipina that came to the united states as a war bride.[4] Years later Ti Mangyuna (1981) led by a collaboration between the KDP and ILWU Local 142 of Hawaii headlined throughout the community.[4] With its goal to educate the audience about labor-union drive’s. In 1990 Dogeaters by Jessica Hagedorn was published which works well as a playwright.[5] Dogeaters talks about political and cultural issues within that time.

In modern times, Filipinos began to branch out of the Filipino-based productions and started doing Broadway adaptations. Concertus Manila, a Philippine based company, provides the possibility of giving metro Manila a chance to see high-end productions. In 2016, they did a production of Les Miserables, in 2014 they did Chicago: The Musical, and Wicked which is coming back in 2017. At the moment, there is currently a production of Sister Act and Kinky Boots in the Metro-Manila area. 

Issues in the Filipino American Theater Community

The first Filipinos immigrants that came to the United States were treated the same way as any other group of immigrants. When the first group of Filipinos joined the theater community they also received a lot of backlash. One of the most common instances are racial issues. One of the most popular plays that had a lot of filipino actors, Miss Saigon, had the issue of casting a white actor for an Asian role (113).[6] With this, it exposed the history of yellow face within the theater community. Another issue that was faced due to Miss Saigon was when it had its own production in the Philippines. J.V Ejercito, the owner of the production of Miss Saigon, became a member of the Philippine congress. J.V Ejercito’s background stirred up controversies since his father Joseph Estrada was still in power when the production was going on.[6] The public implied that the production gained it money not through profit but through politics and free enterprise.[7] During the production of Miss Saigon, the international work force for Filipinos was also rising. Filipinos were seen as Little Brown Fucking Machines (LBFM) my military men thus giving Filipinos the roles of prostitutes within plays.[7] Because of Miss Saigon, Filipinos were then seen as maids and domestic helpers. [8]

Filipino American Productions in Universities

Pilipino Cultural Night (PCN) is an event mostly organized by students in which they express cultural aspects through theatrical mediums. It was established in 1972 to celebrate the Filipino American community at California State University.[9] California State University had their first PCN with the theme: “Anyong Pilipino: Portrait of the Pilipino”.[9] Around the 1980’s, PCN incorporated folklore dance to theatrical narratives.[10] In the University of Hawai’i, the Fil-Am club sponsored an event called Gabi ng Pilipino (Filipino Night).[10] It featured popular dance and musical presentations from late 1970’s to mid-1980’s.[9]

References

  1. 1 2 3 4 5 6 7 8 9 10 11 12 13 Tiongson, Nicanor G. (Jun 8, 2009). "Dulaan, an Essay on Philippine Theater" (PDF). Cultural Center of the Philippines: 40.
  2. ↑ Goh, Robbie B. H. (2011-01-01). Narrating Race: Asia, (Trans) Nationalism, Social Change. Rodopi. ISBN 9401207089.
  3. ↑ House, Criena. "Contributions of Filipinos to American Theater, Part 2: Legit Theater".
  4. 1 2 3 4 5 6 Liu, Miles Xian. Asian American Playwrights. p. 343.
  5. ↑ San Pablo Burns, Lucy Mae. Puro Arte. p. 94.
  6. 1 2 San Pablo Burns, Lucy Mae. Puro Arte. p. 113.
  7. 1 2 San Pablo Burns, Lucy Mae. Puro Arte. p. 116.
  8. ↑ San Pablo Burns, Lucy Mae. Puro Arte. p. 118.
  9. 1 2 3 "Long Beach Pilipino Cultural Night".
  10. 1 2 Gonzalves, Theodore S. The Day the Dancers Stayed: Performing the Filipino/American Diaspora. p. 89.
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