Badjao of PNU Balingsasayaw: A Brief Performance Ethnography
Badjao of PNU Balingsasayaw: A Brief Performance Ethnography
PNU Balingsasayaw of the Philippine Normal University, the National Center for Teacher
Education was the National Champion in 2018 Philippine Association of State Universities and
Colleges(PASUC) in Contemporary Dance Category performing “Badjao” held at the University
of Southeastern Philippines, Davao last November 30, 2018. Prior to joining PNU
Balingsasayaw as a member, I was a student of Contemporary dance and ballet classes in Ateneo
de Manila University under Coaches Jun Saagundo and Chris Nocon. I had the privilege at PNU
to practice for the National Competition under Coach Jay Anthony “Tonjie” Mangao but need to
give my slot after few sessions to other member of the group due to age reason. The Philippine
Association of State and Universities and Colleges (PASUC) has a rule:
“Disqualification-only the screening committee have the authority to recommend athletes on the
following grounds; 1. Over-aged athletes (25 years old and above).”
By the way, I am now a current Art degree student at the University of the Philippines.
BEGGING BADJAO
The “Badjao” is a timely performance due to the recent ethno-genesis after the diaspora of the
non-aggressive and respectful Badjaos to escape from horrible situations under Abu Sayyaf and
take refuge to their neighboring regions. Ethno-genesis is commonly understood as the formation
of new identity of an ethnic group under adverse circumstances that demand change. These
horrible and forced changes might affect their culture and identity as a sea- faring tribe: “From
the house boats to the inland stilt houses, from fishing to begging, from the moorage to the
barangay, from Islam to Christianity, and from traditional music to the digital discs.”1
The dispersion of the Badjaus, their painful “dusa” (sufferings), the castration of their
ego(walang mukha) by begging impacted negatively their identities and culture. According to
Datu Saada and Maulana, “extreme poverty and changes in the environment are turning Badjao
into endangered tribe.”2
The author believes that the preservation of their culture depends on the
performance and archives or writing. De La Salle University Dean of Liberal Arts Jazmin Llana
wrote,
“using performance as an epistemic tool that is equally as valuable as the archive in the
production of social memory and historical knowledge”.3
Performance ethnography can be used as a tool to preserve the endangered culture of Badjao
tribe. According to Dr Simone Krüger,
“Scholars in the humanities often wish to gain in-depth cultural understandings during
participant-observations of events, situations and activities. The possibilities that ethnography
affords to the researcher are even further extended in dance, drama and music. Here,
ethnography may involve participation in actual performance as a privileged means of access to
embodied knowledge and fellow feeling, which can also lead to performativity outcomes.
Performance can sensitize the performer-researcher to aspects directly or indirectly related to a
creative work, and can precipitate a sense of the style and aesthetics of a piece of music, dance or
drama… The goal of performance ethnography is to experience a dance, drama or music culture
directly and personally while immersing yourself in it as a performer. Here, understanding of the
creative work becomes closely tied to cultural understanding through your own performance
experiences.”
4
I had both cultural and performativity immersion that will articulate an emic (insider‟s view) and
etic (outsiders view) interpretation. My first day of practice for the contemporary dance
competition was scary because I need to catch a fellow dancer in a manner that I find challenging
as he dive in but able to do it through lakas ng loob (courage).
In Ethnography, the researcher is the primary tool for data collection using methods of
participant-observation, open-ended interviewing, and technology in the age of
globalization(virtual ethnography) while becoming a cultural insider among the people studied. I
interpreted the results of ethnographic method by using phenomenology, positive psychology,
ethics, existentialism, and theology.
This brief article intends, not to address the economic or political issues, but to discover and
document a particular culture and performance in order to help preserve the original identity of
the Badjao tribe.
SETTING ENTABLADO
By using “Entablado” as a place of research, performance ethnography transforms Entablado
from a venue of entertainment and competition, in the context of PNU Balingsasayaw, to a
participatory research that extends beyond the performance itself. Carlos Palanca Awardee and
UP Diliman Professor Dr Sir Anril Pineda Tiatco wrote,
“The use of entablado is twofold. In this context, entablado is used to denote its literal meaning
as a space on which a performance commonly takes place. In the context of the Philippines…the
space of performance is not only confined to the walls of an auditorium, but may also happen in
a street, a foyer of a huge cultural landmark, a river, or a school auditorium. Also the space is not
necessarily a location exclusively for an artistic performance. It may be a space where people gather for the Divine, for entertainment, for a political protest, or for an academic
conversation..”
5
The Badjao was practiced and performed in the stage, in the auditorium, and the sports court for
volleyball, table tennis and more. Performing Badjao on “Entablado” strikes the spectator.
Through re-enacted performance, the authentic Identity of Badjao unveiled on stage and reexamined by both audiences and performers enabling a transformative and appreciation towards
Badjao‟s culture.
SEA- FARING BADJAO
The Badjao is considered to be one the thirteen moro ethno-linguistic groups in Mindanao found
chiefly in a maritime region stretching from the coastal areas of Zamboanga Bay to the Sulu
Archipelago in the Philippines. According to James Francis Warren (1981), the group is under
the Muslim state of Sulu Sultanate. Bajau is an Indonesian term for “boat dwelling people.”
They are the most sea oriented people of the Sama speaking people. Regarding their origin,
Goquingco (1980) believe that the Badjao is “among the great sea-voyagers of Eastern
Indonesia, She argued that the Badjao are related to the Orang Laut of Johore and Southern
Malaysia”. 6
Several sources cited that they are known to be “navigators, sailors, fishermen, pearl divers, boat
builders and mat weavers. They are generally deemed respectful, joyful, simple, humble,
hospitable, easily pleased, and go along with others with a high sense of gratitude. In addition, they are described to be hardworking, /thrifty, nonviolent/peaceful, and contented/happy
people.”7
In search for Identity, existentialists and phenomenologists started the discovery of the
meaning of existence as mental processes but evolve to the concept of
“Pagpapangatawan”(embodiment). I will apply the works and writing of Maurice Merleau‐
Ponty because of his emphasis on embodiment relevant to performing arts.
He transformed Husserl‟s ideas on Intentionality as mental consciousness into bodily
engagements or movements with the world called Motor Intentionality.8
I understand that he
was defending monism view over dualism of Descartes. In my humble opinion, it does not
really matter who has the right position towards mind-body debatable issues. In real life,
regardless if you are dualist, monist, or trichotomist, each position aims for one thing:
embodiment or the unity of mind and body. Embodiment is the reaction to the world though
body movements. Embodiment, in Philippine context, is “Pagpapangatawan,” Katawan is the
noun root word. It refers to integrating or putting mind into action. It is also living in the
“Here and now”. A co-performer could tell you: “Parang wala ka sa sarili” (It seems you are
not in full self) if they see you performing below your regular movements or expected
performing ability. In discovering of the Badjao people, observing how they search for a living and dive for a pearl are parts of the ethnographic process to discover their Identity.
Moana sang, “See that line where the sky meets the sea, it calls me(Identity).”
CULTURAL AND PERFORMANCE IMMERSION
Discovering the essence of Badjao was one of the main activities as preparation for the National
Competition. Aside from the Ballet and Contemporary Dance training conducted by Coach
Robert “Stephen” Badioma and Coach Tonjie, we were asked to watch the Badjaos in youtube.
I also observed the Badjaos begging inside the Jeepney. The main identity of the Badjao is a seafaring tribe. It is a responsibility of “Kapwa”(others) to preserve their kakanyahan (Essence) and
maintain their puri(Dignity). The Filipino identity is “Nakikisama.”(Sympathizing/Empathizing)
The dignity of every Badjao is also a dignity for every Filipino. I spoke and interviewed
personally and via facebook(Virtual Ethnography) Coach Tonjie, a graduate of the Philippine
High School for the Arts about the inspiration, preparation, and challenges as he discover the
identity of Badjao for the National Competition for Contemporary Dance Category. He
answered,
“I was actually given 2 months to prepare for the PASUC regionals competition with the themeWATER. Last July 2018, I was invited by Sir Stephen Biadoma to observe the training of his
dancers from the PNU- Balingsasayaw Dance Troupe and was asked to choreograph for their
entry in the PASUC-Contemporary Dance Competition. Then, August 2018 came; I started to
take over as coach for that moment. I studied the nature of the competition- its former winners,
platform, and usual styles etc. One of the main factors that made me choose Badjao as my
concept was having volleyball players as my dancers without any background on ballet or
contemporary dance or at least jazz and folk dance. Since it was also the year of having the 1st
college students from the K-12 program, I had no dancers left to work with so we had to be
resourceful enough to invite some students from Dance Sports team, Folk Dance team, Hiphop
team and even from the volleyball team. I had to come up with a style that fits the physique and natural movements of my dancers. Since the volleyball players are used to diving and digging
balls, I worked with it and looked for a concept associated with diving. As a dance coach,
observing and appreciating their strengths and weaknesses as dancers is a very crucial part for
me in my design process. I didn‟t focus on training them in ballet and jazz but I used their
organic movements and fun and playful personalities hence I came up with the concept—
Badjao…From then on, we started studying the ways of diving and swimming of our Badjao
brothers. All of the movements used were inspired by how the Badjao kids swim and dive and
even the way they celebrate or bond. The formations/blockings were also connected to the
concept. The music used was inspired by the tin cans that the Badjao kids use as their drums. The
costume was also gotten from the fish net to complement the sea gypsies and with the wooden
goggles to fully show the Badjao experience. At the end of the piece, I created a Budots dance as
a way that the Badjao kids celebrate. Everything was in synch with the concept to fully give the
message that we wanted the audience to understand.”
FLOW OF NATURAL MOVEMENTS
Coach Tonjie calibrated himself by observing the culture of Badjao and maximized the
following:
1. individual personalities and style that includes strengths and weaknesses- “Dancers from
Dance Sports, Folk Dance, Hiphop, and Volleyball team”.
2. natural movements- “Volleyball players are used to diving and digging balls…I looked for a
concept associated with diving”
To be in a flow and unlock creativity, the coach needs to suspend learned and establish dances. I
will explain this further based from two stages: Pre-entablado and Entablado.
PRE-ENTABLADO: This stage is the gap between intention and action. It suspends
judgement or “Alam ko na yan attitude” or pre-notion about Badjao. It is an attempt to let go
of preconditioned assumptions and learnings. Coach Tonjie said, “I didn‟t focus on training
them in ballet and jazz but I used their organic movements.” This is a reduction process in
Phenomenology. The pre-Entablado stage value mindfulness or “hear and now” experience.
This immersion to reality might create vagueness and symmetry, joy and anxieties. But a
trained mind and body can handle ambivalence, disfamiliarity, disequilibrium, inequality,
dislocation, and liminality leading to a more creative process. This exercise will unlock the
subconscious mind, surface the heart’s desire, discover the authentic identity of Badjao,
motivate a meaningful body, opens the mind for new thoughts that can be used for cultural
preservation, competition and actual performance. As Merleau‐Ponty said:
“If reflection is not to presume upon what it finds and condemn itself to putting into things
what it will then pretend to find in them, it must suspend the faith in the world only so as to
see it, only so as to read in it the route it has followed in becoming a world for us; it must
seek in the world itself the secret of our perceptual bond with it. It must use words not
according to their pre‐ established signification, but in order to state this pre-logical bond”.9
Understanding the difference between the PRE‐ENTABLADO/ENTABLADO can move us to a
placebeyondcommon thinking.Thepre‐Entabladodoes not negate Entablado stage but indicates a
dynamic ontological state of entwinement between the two. It is not a steady state. It appears and
vanishesinaconstantsliding exchangeof ideas or concepts, similar, to the concept of liminality.
ENTABLADO: This is the stage where the performance can be witnessed or performed. There is
reversibility inside the Entablado like a mirror principle between the performers and spectators.
Merleau-Ponty theory is “I can see and that I am also seen.” I am both subject and object through
the act of seeing. Merleau-Ponty stated, “Since the same body sees and touches, visible and
tangible belong to the same world.” The awareness of the “here and now” and individual self or
personal style will unlock natural FLOW (Daloy) of movements that would maximize
Pagpapangatawan(embodied)-a unity of the mind and body leading to creative performances,
thereby garnering NATIONAL CHAMPION award for PNU Balingsasayaw in the contemporary
dance category.
Mihaly Csikszentmihalyi, considered one of the co-founders of positive psychology, was the first
to identify and research flow stated,
“…being completely involved in an activity for its own sake. The ego falls away. Time flies.
Every action, movement, and thought follows inevitably from the previous one, like playing jazz.
Your whole being is involved, and you’re using your skills to the utmost.”
There were 9 dancers: Regienald Andrew M. Katindig, Jeffrey Dorado, Richard Barcelona, Mark
John Detondoy, Rekka Limpin, Josh Beltran, Emmanuel Ycoy, Gabriel Angelo Albay, and Noel
Adel Jr. I talked and interviewed them personally and via facebook on how the Badjao inspired
them at the present:
“Actually, Folk dancer talaga ako and kinuha lang kmi nila due to lack of dancers heheh pero I
think yung inspiration ay galing from bicol kase madami-dami dun sumisisid especially sa
Matnog,Sorsogon and totoo syang nagyayari”- Noel Lim Adel Jr.
“It inspired me to do things that I can’t do which also made me realize that through passion and
hardwork, we can do all things. It inspired me also to face all the challenges, academically,
physically and mentally. It made me stronger and better than who am I in the past.”- Rekka
Limpin
“As a new contemporary dancer, Badjao piece inspires me everyday because this is a new
experience for me. I converted myself from dancing ballroom to contemporary. The adjustments
are really hard and full of challenges, but I tried my best to make myself fit into the team.”-
Gabriel Angelo Endaya Albay
“Creating and performing the dance piece “Badjao” is a total inspiration that I could always look
back to as a dancer. It teaches me to value research when creating dance, we undergo some
research about the life of badjao in order for us to tell their story.”- Josh Beltran
“We were inspired by this original concept because of coach’s raw approach that leads us that
anyone can dance, and every movement that we do has a form of dance. We were able to cope to
his training and manage to make a lot of moves. Honestly, there were so many moves that were
not included in the dance because he, as an artist, wants to make this concept a beautiful
masterpiece, portaying the life of a “Badjao” diver. With the help of us and other coaches, we
were able to win the regionals, and even win the Nationals.”- Aeron Kreg Crisostomo
Badjao dance inspired me to appreciate the diverse culture and simple lifestyle of our very own
Badjao people. This appreciation and love triggered me to characterize and exactly depict the
way they move, the way they socialize and most importantly the way they earn a living. This
inspired me to enjoy the portrayal of this seafaring tribe. This enjoyment helped all of us to
perform the dance with genuine joy and festivity…this experience has shaped me to be strong in
identity and character, to be hardworking and to be a lover of my livelihood, nature, and people.
As a former president, I managed to prepare all the dancers to be very united on and off stage
knowing that all ten dancers did not come from a single group, troupe or team. The frequent
conversation is a big help to increase unity, sensitivity, and artistry of the dancers by discussing
possible internal arrangements, efforts, adjustments, positioning and more. -Regienald Andrew
M. Katindig
Indeed, The badjao Performance was not just an epistemic tool for cultural preservation but also
an inspiration to the coach, performer, and the whole community.
FROM BEGGING TO DIVING
Professor Tiatco wrote about Levinas philosophy on Face:
“The other does not give an absolute command; the command is part of the relationality between
the „I‟ and the other.”
This concept might show a Triangular Type of relationships if I will base it from the background
of Levinas. Levinas was a Jew. His concept of other was referring to the image of God. Levinas
stated,
“Ethical relationship is referring to dealing with others based not from the face in front of me (en
face de moi) but from the face above me, in which the idea of God comes to mind(Gott faellt mir
ein)”.
In theology, God created man in His image and likeness. Treating others based from the image of
God does not mean being inferior or superior to others but treating others as if you are in front of
God—showing veneration or respect. This is probably the meaning of Levinas‟ FACE ABOVE
ME‟
When we treat Badjaos as a Sea Faring Tribe, not beggar, we treat them for who they are- equal,
gifted, capable, and brilliant. Their tribe might currently be at their rock bottom. But there is no
other way but to rise.
References:
1. Daug, Artchil C, Christopher O Kimilat, Glory Grace Ann G Bayon, and Angenel Clariz D
Rufon. 2013. “THE POSSIBILITY OF ETHNOGENESIS OF THE BADJAO IN BARANGAY
TAMBACAN, ILIGAN CITY.” Semantic SCHOLAR. Mindanao State University-Iligan
Institute of Technology. June 4, 2013.
https://pdfs.semanticscholar.org/8dd4/89417784020c4eec38e6a9c3ad9ae0927a3f.pdf?_ga=2.132
285646.1787256275.1584994764-839963141.1584994764
2. Maulana, Nash B. n.d. “Badjao Sea Tribe Poses Census Problem.” Inquirer News Badjao Sea
Tribe Poses Census Problem Comments. Accessed March 23, 2020.
https://newsinfo.inquirer.net/725667/badjao-sea-tribe-poses-census-problem.
3. Llana, Jazmin Badong. 2010. “The Bicol DotocPerformance, Postcoloniality, and Pilgrimage.”
The Bicol Dotoc – Aberystwyth Research Portal. March 16, 2010.
https://pure.aber.ac.uk/portal/en/theses/the-bicol-dotoc(9a471a1e-3d71-4c1a-9574-
5a4e13e6ea09).html.
4. Webster, Emma. 2009. “Ethnography in the Performing Arts: A Student Guide. By Simone
Krüger. Palatine, 2008. 134 Pp. Open Access Resource Available at
Http://Www.palatine.ac.uk/Files/1377.Pdf: Popular Music.” Cambridge Core. Cambridge
University Press. October 20, 2009. https://www.cambridge.org/core/journals/popularmusic/article/ethnography-in-the-performing-arts-a-student-guide-by-simone-kruger-palatine2008-134-pp-open-access-resource-available-athttpwwwpalatineacukfiles1377pdf/6DFE81FB512EE7662F9F087EE6D7AEDC.
5. Tiatco, Sir Anril Pineda. 2015. Entablado: Theatre and Performances in the Philippines.
Quezon City, Ph: The University of the Philippines Press.
6. “FROM THE SEAS TO THE STREETS: THE BAJAU1 IN DIASPORA IN THE
PHILIPPINES.” n.d. CiteSeerX. Accessed March 24, 2020.
http://citeseerx.ist.psu.edu/viewdoc/citations;jsessionid=EA6A856389379668875C35BF7A24C6
FA?doi=10.1.1.691.7007.
7. “What Is Flow in Psychology? Definition and 10 Activities to Induce Flow.” 2019.
PositivePsychology.com. November 4, 2019. https://positivepsychology.com/what-is-flow/.
8. Grant, Stuart, Jodie Mcneilly-Renaudie, and Matthew Wagner. 2019. Performance
Phenomenology: to the Thing Itself. Cham: Palgrave Macmillan
9. Bennett, and Catherine Ann. 2013. “Performing Phenomenology: a Practice-Led Investigation
of Contemporary Performance.” Performing Phenomenology: a Practice-Led Investigation of
Contemporary Perform
Photo credits: PNU Balingsasayaw
(The author is dedicating this article to Bicolano Expert on Theatre and Performance Studies Dr Jazmin Llana; to my UP, PNU, and Ateneo Professors: Carlos Palanca Awardee Palanca Awardee Dr. Sir Anril Pineda Tiatco, Prof. Katherine Estevez, Dr. Diego Maranan, Dr Lars Ubaldo, Dr Myla Arcinas, Mam Portia Soriano,Dr. Honey Libertine Achanzar-Labor, Dr. Mabini Dizon, Dr Ana Katrina De Jesus, Professor Gian Carlo de Jesus, and Dr Danilo Gerona, Filipino Historian; and to my Guitar coach Sir Timothy Pacpaco, National Champion)
About the Author
Peter Dadis Breboneria II (Formerly Peter Reganit Breboneria II) is the founder of the International Center for Youth Development (ICYD) and the program author/ developer of the Philippines first internet-based Alternative Learning System and Utak Henyo Program of the Department of Education featured by GMA News & Public Affairs and ABS-CBN and MOA signed by Department of Education, Voice of the Youth Network, Junior Chamber International (JCI), and the Philippine Music and the Arts. You may visit his website at www.peterbreboneria.com
