From war dance to theater of war moro moro performances in the philippines 8

248

Conclusion


Heritage is our legacy from the past, what we live with today, and what we
pass on to future generations.
1
There is a constant negotiation, however, for what
aspects of culture should be considered as heritage. In Chapter 1, we saw how the
moro-moro was seen as baggage by a segment of the Filipino population, and this led
to the death of the moro-moro in some parts of the country. It continues to be a living
tradition today, however, because some communities deemed the moro-moro as
heritage and saw in it a legacy worth passing on from generation to generation. As the
church and the elite abandoned the moro-moro, it was appropriated by peasants, and
had become folklorized. Today, there are moves among some scholars in the academe
to use the moro-moro as a basis for the creation of a national theater because of its
long history, wide geographic reach, and its being a theater of the people.
The debate on whether the moro-moro is baggage or heritage is on-going and
remains unresolved. There are anxieties over the appropriateness of cultivating a
theater premised on war between Christians and Muslims as the basis for the
formation of a national theater in a country where the Christian majority is engaged in
a protracted conflict with the Muslim minority. Another source of discomfort is the
perceived complicity of the moro-moro in the Spanish colonial project. This theater is
conventionally seen as a tool used by the Spanish establishment to promote the
superiority of their race and religion.
In Chapter 2, this study addressed these anxieties by shifting the angle of
vision from the ship to the shore, by embracing the term moro-moro instead of

1

UNESCO. 2009."World Heritage. Convention Concerning the Protection of the World Cultural and Natural
Heritage." 1972. Online: <

249
komedya. Tracing the roots of the Filipinized komedya to the Spanish comedia may
suggest a derivative theater that is a variant, or from the perspective of Spanish
observers a poor copy, if not bastardization, of the Spanish original. By recovering the
earlier meaning of the word moro-moro, that of a war dance, which in reality was a
blanket term that covered a variety of native war dances, we have emphasized the
genre's rootedness in native traditions. The centrality of the war dance in the moro-
moro is what gives this form of theater a distinctiveness in orchestration, making it
unmistakably indigenous in the way it merges poetry with music and dance.
In the next three chapters we examined the Filipino-ness of the moro-moro by
showing how the modes of composition, delivery, and consumption of the plays
betray native sensibilities. We see, for instance, in the penchant for repetition and
monotonous delivery of verses the persistence of habits of oral composition, and
residues of an epic chanting tradition. In the art of dictation, we see the intricate
interaction among actors and musicians, and between dance and dialogue, all held
together by the expert reading of verses by the diktador. We see affinities between the
moro-moro and other theater traditions in the diktador-prompter-playwright's mode
of composition, for like his counterparts elsewhere in the region, his script-building is
an act of bricolage, that is, he makes use of available stock imagery and scenarios and
combines them differently for each performance. In creating a play, he follows a
choreographic logic, and his choices of characters and scenes are guided by a desire to
best showcase movement even at the expense of the development of the plot. An
understanding of choreographic logic allows us to appreciate the "playwright as
choreographer" and to be able to put his writing, and the idiosyncracies of moro-moro
scripts, in perspective.

250

The emphasis on dance in moro-moro performances is founded on native
notions of power and the belief in the efficaciousness and suitability of dance as
offering. The moro-moro performed in villages is in the context of a panata, and
dancing is performed in fulfillment of a sacred vow. In this sense we can see patterns
of continuity between pre-Hispanic religious ritual where dancing was also central.
2

We can therefore appreciate the moro-moro as a site of convergence between Spanish
Catholic and indio conceptions of dance as devotion, and this created the opportunity
for dances, as well as martial arts (as arnis fighters remind us), to be sustained for
centuries.
In Chapters 6 and 7, we saw changes in the form and content of the moro-
moro as it made its way from village stage to theater house and from the past to the
post 9-11 age. We see the moro-moro as part of a conscious culture-building project
to assert Filipino identity within the theatrical context. The move to make the moro-
moro a basis for national theater, however, raises important issues and concerns. In
chapter 6 we saw the emergence of issues of authenticity. As the moro-moro is
reformed, updated, and modernized, the challenge is to do so in a way that allows it to
still be a moro-moro and not become "just a play, like any other play"—to use the
phrase thrown around by old-timers in San Dionisio.
In Chapter 7, we tackled the issue of the moro-moro being associated with the
Catholic majority and how turning it into national theater may marginalize the non-
Catholics. We drew attention to some encouraging trends in the portrayal of the Moro,
showing how through strategies of deletion, inversion, substitution, and appropriation,
the Moro has acquired new meanings and is no longer confined to the role of villain

2
See Ma. Teresa Muñoz. "Notes on Theater: Pre-Hispanic Philippines (Religion, Myth, religious Ritual) in
Antonio Manuud ed. 1967. Brown Heritage: Essays on Philippine Cultural Tradition and Literature. Quezon City:
Ateneo de Manila University Press. pp. 648-667.

251
and vanquished. We drew attention to the Moro's "aesthetic victory" which made
Moro roles more coveted and prestigious.
We also put into question the basic assumption that in this genre the Christians
are always heroes/victors and the Muslims are always the villain/vanquished, by
arguing how the moro-moro's symmetrical design created equivalences in Christian
and Moro kingdoms, allowing for both factions to have their equitable share of
virtuous and vicious characters. The Christian-Muslim divide in the moro-moro can
better be viewed as a "choreographic opposition" in form and not in substance, rather
than a "binary opposition" which results in "othering". There is an underlying
suggestion of sameness, of mirroring. Even the word we use to refer to this genre
bears this symmetrical design: Moro-Moro.















252
BIBLIOGRAPHY

Abeto, Isidro Escare. Philippine History: Reassessed. Metro Manila: Integrated
Publishing House, 1989.

Agoncillo, Teodoro. The Revolt of the Masses: The Story of Bonifacio and the
Katipunan. Quezon City: University of the Philippines Press. 1959.

Aizpuru, Pilar Gonzalbo. "Las Fiestas Novohispanas: Espectaculo y Ejemplo",
Mexican Studies/Estudios Mexicanos 9, 1 (Winter 1993), pp. 19-45.

Alip, Eufronio Melo. Tagalog Literature: A Historico-Critical Study. Manila:
University of Santo Tomas Press, 1930.

Almario, Virgilio S. Ang Makata sa Panahon ng Makina. Quezon City: University of
the Philippines Press, 1972.

____Balagtasismo Versus Modernismo: Panulaang Tagalog sa ika-20 Siglo. Quezon
City: Ateneo de Manila University Press, 1984.

Anderson, Benedict. Imagined Communities: Reflections on the Origin and Spread of
Nationalism. London:Verso, 1983.

Bañas, Raymundo. Philippine Music and Theater. 1975.

Bayot, David. Isagani R. Cruz and the Other Other: Interventions in Philippine
Kritika. Manila: De La Salle University Press. 1996.

Barrantes, Vicente. Guerras Piraticas de Filipinas; contra Mindanaos y Joloanos.

Madrid, 1878.

____. El Teatro Tagalo. Madrid: Tipografia de Manuel Gines Hernandez, 1890.

Beezley, William et. al (eds). Rituals of Rule, Rituals of Resistance: Public
Celebrations and Popular Culture in Mexico. Wilmington, DE: Scholarly
Resources Inc, 1994.

Bennasar, Guillermo. Diccionario Tiruray-Espanol. Manila: Tipo-litog. de Chofre,
1892-93.

Bernad, Miguel A. The Great Island: Studies in the Exploration and Evangelization
of Mindanao. Manila: Ateneo de Manila University Press, 2004.

Bernal, Rafael. Prologue to Philippine History. Manila: Solidaridad Publishing
House, 1967.

_____."The 'Moro-Moro': A Possibility for Folkloric Theater" in Comment, no 15
(1962), pp. 115-123.

253

Blair, Emma H. and Alexander Roberson, eds. The Philippine Islands 1493-1898.
Mandaluyong, Philippines: Cacho Hermanos, 1973. (originally published 1909)

Brakel-Papenhuyzen, Clara. Classical Javanese Dance. Leiden: KITLV Press, 1995.

Brandon, James R. Theater in Southeast Asia. Cambridge: Harvard University
Press,1967.

Briggs, Charles Whitman. The Progressing Philippines. Philadelphia: The Griffith &
Rowland Press, 1913.
Brisset , D. E., (2001). Fiestas Hispanas de Moros y Cristianos. Historia y
Significados. Gazeta de Antropologia, 17. [Online]. Retrieved Dec. 3, 2007
from

_______________ (1993). Clasificacion de los "Moros y Cristianos'. Gazeta de
Antropologia, 10. [Online]. Retrieved Dec. 3, 2007 from


_______________ (1991). Una Familia Mexicana de Danzas de la Conquista. Gazeta
de Antropologia, 8. [Online]. Retrieved Dec. 3, 2007 from


Burshatin, Israel. "Power, Discourse, and Metaphor in the Abencerraje", MLN 99, 2
(March 1984), pp. 195-213.

_____ "The Moor in the Text: Metaphor, Emblem, and Silence", Critical Inquiry 12,
1 (Autumn 1985), pp. 98-118.

Canclini, Nestor Garcia. "Conflictos de Identidad en la Cultura Popular: Bases Para
Una Politica Artesanal en America Latina", Revista Mexicana de Sociologia 43,
2 (April-June 1981), pp. 713-726.

Cannell, Fenella. Power and Intimacy in the Christian Philippines. Quezon City:
Ateneo de Manila University Press, 1999.

Chapuli Navarro, Antonio. Siluetas y Matices: Galeria Filipina. Madrid: Imprenta de
la Viuda de M. Minuesa de los Rios, 1894.

Cohen, Matthew Isaac. The Komedie Stamboel: Popular Theater in Colonial
Indonesia, 1891-1903. Ohio University Press.

Conde, A. (1854). History of the Dominion of Arabs in Spain. vol. 2. Trans. by
Jonathan Foster. London: Henry Bohn.

Cruz, Hermenegildo. Kung Sino ang Kumatha ng "Florante". Santa Cruz, Maynila:
Libreria Manila Filatelico, 1906.

Cruz, Isagani. "The Zarzuela in the Philippines", in Priscelina Patoja-Legasto.
Filipiniana Reader. Quezon City: OASIS, University of the Philippines Open

254
University. 1998

Cullinane, Michael. Illustrado Politics: Filipino Elite Responses to American Rule,
1898-1908. Manila: Atene de Manila University Press, 2003.

De la Costa, Horacio, SJ. Jesuits in the Philippine, 1581-1769. Cambridge, Mass.:
Harvard University Press, 1961.

De la Teja, Jesus F. "St. James at the Fair: Religious Ceremony, Civic Boosterism,
and Commercial Development on the Colonial Mexican Frontier" The Americas
57, 3 (January 2001), pp. 395-416.

De los Santos, Epifanio. "Florante: Version Castellana dal Poema Tagalo con su
Ensayo Critico". Philippine Review 1.7-1.8 (1916). Reprinted as a pamphlet in
Manila: Gregorio Nieva, n.

Del Castillo, Teofilo T. and Buenaventura S. Medina. Philippine Literature From

Ancient Times to The Present. Quezon City: Del Castillo and Sons. 1964.

Del Mundo, Clodualdo A. Native Resistance: Philippine Cinema and Colonialis,
1898-1941. Manila: De La Salle University Press. 1998.

Diamond, Catherine. “Quest for the Elusive Self: The Role of Contemporary
Philippine Theater in the Formation of Cultural Identity”, The Drama Review,
Vol.40, No.1 (Spring, 1966), 141-169.

Douglass, Carrie. "The Fiesta Cycle of 'Spain'", Antrhopological Quarterly 64, 3 (July
1991), pp. 126-141.

Eberle, Edith. Palm Tree and Pine, Stories of the Philippine Islands. Cincinnati, Ohio:
Powell & White, 1927.

Encarnacion dela, Juan Felix, Fr. Diccionario Bisaya-Espanol v. 1. Manila: Tip. de
Amigos del Pais, 1885.

English, Leo James. Tagalog-English Dictionary. 19th printing. Mandaluyong City:
Cacho Hermanos, 2004 (first printing 1986).

Espina, Miguel A. Apuntes Para Hacer Uni Libro Sobre Jolo. Manila: Impr. y Lit. de
M. Perez, 1888.

Eugenio, Damiana L. (ed). Mga Piling Awit at Korido. Quezon City: University of the
Philippines Press, 1995.

Fansler, Dean Spruill, ed. Filipino Popular Tales. Hatboro, Pa.: Folklore Associates,
1921.

Fernandez, Doreen G. Palabas: Essays on Philippines Theater History. Quezon City:
Ateneo de Manila University Press, 1996.


255
_____. "Prinscesa Miramar and Principe Leandro: Text and Context in Philippine
Komedya" in Philippine Studies 39 (1991): 413-42.

Fernandez Lopez, Ventura. La Religion de los Antiguos Indios Tagalos. Madrid: Imp.
de la Viuda de M. Minuesa de los Rios, 1894.

Freer, William Bowen. The Philippine Experiences of an American Teacher: A
Narrative of Work and Travel in the Philippine Islands. New York: C.
Scribner's Sons, 1906.

Forbes-Lindsay, C.H. America's Insular Possessions. Philadelphia: The J.C. Winston
Co., 1906.

____. The Philippines Under Spanish and American Rules. Philadelphia: The J.C.
Winston Co., 1906.

Foreman, John, F.R.G.S. The Philippine Islands. A Political, Geographical,
Ethnographical, Social and Commercial History of the Philippine Archipelago
and its Political Dependencies Embracing the Whole Period of Spanish Rule.
London: S. Low, Marston &Co., Ltd., 1899.

____. The Philippine Islands. A Political, Geographical, Ethnographical, Social and
Commercial History of the Philippine Archipelago and its Political
Dependencies Embracing the Whole Period of Spanish Rule, With An Account
of the Succeeding American Insular Government. Reprint of the 3rd (1906) Ed.

Manila: The Filipiniana Book Guild, 1980.

Foronda, JR, A. Marcelino. Cultural Life in the Philippines during the Japanese
Occupation, 1942-1945. Manila: Philippine National Historical Society, 1975.

Gavino, Pacita C. "Of Wooden Swords and Golden Bracelets: Philippine Theater:
1565 - 1920" in Tiongson, Nicanor G. Igkas-Arte: The Philippine Arts During
the Spanish Period. Manila: Cultural Center of the Philippines and Aegencia
Espanola de Cooperacion International, 1998.

Guerra, Juan Alvarez. Viajes por Filipinas de Manila a Albay: Madrid: Imprenta de
Fortanet, 1887.

Hall, Alton. Visayan-English Dictionary. San Jose, Antique, 1911.

Harris, Max. "'Indigenismo y Catolicidad': Folk Dramatizations of Evangelism and
Conquest in Central Mexico", Journal of the American Academy of Religion 58,
1 (Spring, 1990), pp. 55-68.

_____ "Muhammed and the Virgin: Folk Dramatizations of Battles between Moors
and Christians in Modern Spain" The Drama Review 38, 1 (Spring 1994), pp.
45-61.

_____ "The Return of Moctezuma: Oaxaca's 'Danza de la Pluma' and New Mexico's
'Danza de los Matachines'", The Drama Review 41, 1 (Spring 1997), pp. 106-

256
134.

_____ "Moctezuma's Daughter: The Role of La Malinche in Mesoamerican Dance",

The Jorurnal of American Folklore 109, 432 (Spring 1996), pp. 148-177.

_____ "Masking the Site: The Fiestas de Santiago Apostol in Loiza, Puerto Rico" The
Journal of American Folklore 114, 453 (Summer 2001), pp. 358-369.

Hartendorp, A.V.H. "The Moro-Moro Performance". Philippine Magazine Vol. XXX,
5 (October, 1933) p. 195.

Hernandez, Tomas C. The Emergence of Modern Drama in the Philippines (1898-
1912). Philippine Studies Working Paper No. 1, Asian Studies Program,
University of Hawaii. June, 1976.

Herrera-Sobek, Maria. "Hispano/Chicano Colonial Literature of the Southwest:
Ideological Constraints in Reuiniting a Literary Heritage", Pacific Coast
Philology 27, 1/2 (September 1992), pp. 29-36.

Hoerburger, Felix. "Once Again on the Concept of Folk Dance", Journal of the
International Folk Music Council. (1968) pp. 30-31.

Ileto, Reynaldo. Pasyon and Revolution: Popular Movements in the Philippines,
1840-1910. Quezon city: Ateneo de Manila Univ. Press, 1979.

_____. Filipinos and their Revolution: Event, Discourse, and Historiography. Quezon
city: Ateneo de Manila, 1998.

____. Maguindanao 1860-1888: The Career of Datu Utto of Buayan. Pasig City:
Anvil Publishing, 2007.

____ . Knowledge and Pacification: Essays on the U.S. Conquest and the Writing of
Philippine History. Quezon City: Ateneo de Manila University Press,

forthcoming.

_____."Orientalism and the Study of Philippine Politics", Philippine Political Science
Journal 22, 45 (September 2001), pp. 1-32.

_____ "Religion and Anti-Colonial Movements" in Tarling, Nicholas (ed). The
Cambridge History of Southeast Asia Volume II: The Nineteenth and Twentieth
Centuries. Cambridge: Cambridge University Press, 1992.

_____ "The Philippine Revolution of 1896 and U.S. Colonial Education", Inaugural
Burns Lecture, The University of Hawaii at Manoa, 7 October 1997

Irving, David. "Musical Politics of Empire: The Loa in 18th-Century Manila", Early
Music (August 2004), pp. 385-399.

Jesuits. Cartas Edificantes de la Provincia de Aragon. Ano 1914, Numero 1.
Manresa: Imprenta y Encuadernacion de San Jose, 1915.

257

Jesuits. Cartas Edificantes de la Provincia de Aragon, Ano 1916. Manresa: Imprenta
y Encuadernacion de San Jose, 1917.

Joaquin, Nick. Culture as History: Occasional Notes on the Process of Philippine
Becoming. Manila: Solar, 1988.

Jose, T. Ricardo. “Accord and Discord: Japanese Cultural Policy and Philippine
National Identity during the Japanese Occupation (1942-1945)”. In Narangoa, Li
and Cribb, Robert (Ed.). Imperial Japan and National Identities in Asia, 1895-
1945. Routledge Curzon, 2003

Juanmarti, Jacinto. Diccionario Moro-Maguindanao-Espanol. Manila: Tipografia
Amigos de Pais, 1892.

Kramer, Paul A. The Blood of Government: Race, Empire, The United States, and the
Philippines. Quezon City: Ateneo de Manila University Press, 2006.

Kurath, Gertrude Prokosch. "Mexican Morsicas: A Problem in Dance Acculturation",
The Journal of American Folklore 62, 244 (April - June 1949), pp. 87-106.

_____ "Dance Relatives of Mid-Europe and Middle America: A Venture in
Comparative Choreology", The Journal of American Folklore 69, 273 (July-
September 1956), pp. 286-298.

Lacalle y Sanchez, Jose de. Tierras y Razas del Archipelago Filipino. Manila: Est.
Tipog. del Colegio de Santo Tomas, 1886.

Laconico-Buenaventura, Cristina. The Theater in Manila, 1846-1946. Manila: De La
Salle University Press, 1994.

Lala, Ramon Reyes. The Philippine Islands. New York: Continental Publishing
Company, 1899.

Laroche, Maximillian. "Music, Dance, Religion" in Callaloo Vol. 15, No.3, Haitian
Literature and Culture, Part 2, (Summer, 1992). pp. 797-810.

Lumbera, Bienvenido L. Tagalog Poetry 1570-1898: Tradition and Influence in Its
Development. Quezon City: Ateneo de Manila University Press, 1986.

_____, Revaluation 1997 : Essays on Philippine Literature, Cinema & Popular

Culture. Manila: University of Santo Tomas Publishing House, 1997.

Macaraig, Serafin E. Social Problems. Manila P.I.: Educational Supply Co, 1929.

MacClintock, Samuel. The Philippines: A Geographical Reader. New York:
American Book Company, 1903.

Manuel, Arsenio. Tayabas Tagalog Awit Fragments From Quezon Province.


258
Manlapaz, Ignacio. "Filipino Drama: A Sketch" in Philippine Magazine, Vol 28, No.
6 (November, 1931). pp. 259-260; 305-308.

Manuud, Antonio. ed. Brown Heritage: Essays on Philippine Cultural Tradition and
Literature. Quezon City: Ateneo de Manila University Press. 1967.

Medina, B.S. Orosman at Zafira ni Balagtas. Manila: De La Salle University Press,
1990.

Mendoza, Felicidad. The Comedia (Moro-Moro) Re-discovered. Makati City: Society
of St. Paul, 1976.

Miller, Hugo Herman. Economic Conditions in the Philippines. Boston: Ginn, 1920.

Moses, Edith. Unofficial Letters of an Official's Wife. New York: D. Appleton and
Company, 1908.

Mojares, Resil. Theater in Society Society in Theater: Social History of a Cebuano
Village, 1840-1940. Quezon City: Ateneo de Manila University Press, 1985.

_____. Origins and Rise of the the Filipino Novel. Quezon City: University of the
Philippines Press, 1983.

_____. Brains of the Nation: Pedro Paterno, T.H. Pardo de Tavera, Isabelo de los
Reyes and the Production of Modern Knowledge. Quezon City: Ateneo de
Manila University Press, 2006.

_____ . "Folk Drama and Social Organization" in Philippine Studies 29 (1981): 230-
39.

Mrazek, Jan (ed). Puppet Theater in Contemporary Indonesia: New Approaches to
Performance Events. Michigan: Centers for South and Southeast Asian
Studies, Univ. of Michigan, 2002.

Namiki, Kanami. 2007. Sayaw Filipino: A Study of Contrasting Representations of
Philippine Culture by the Ramon Obusan Folkloric Group and the Bayanahian
National Folkdance Company. MA Thesis. National University of Singapore.

Ness, Sally. Body, Movement, and Culture: Kinesthetic and Visual Symbolism in an
Philippine Community. Philadelphia: Univ. of Pennsylvania Press, 1992.

_____. “Originality in the Postcolony: Choreographing the Neoethnic Body of
Philippine Ballet”. Cultural Anthropology 12(1):64-108, 1997.

Nieto Aguilar, Jose. Mindanao: Su Historia y Geografia. Madrid: Imp. del Cuerpo
Administrativo del Ejercito, 1894.

Nigg, Charles. A Tagalog English and English Tagalog Dictionary. Manila: Imp. de
Fajardo y Comp., 1904.

259
Nor, Mohd Anis, Elsie Ivanvivh Dunin et.al. eds. Transmitting Dance as Cultural
Heritage & Dance and Religion: Proceedings of the 25
th
Symposium of the ICTM
Study Group on Ethnochoreology. Kuala Lumpur: Cultural Centre University of
Malaya, 2009.

Ong, Walter J. "Orality, Literacy, and Medieval Textualization" in New Literary
History, Vol. 16, No. 1, Oral and Written Traditions in the Middle Ages.
(Autumn, 1984), pp. 1-12.

Ordonez, Elmer (ed). Nationalist Literature: A Centennial Forum. Quezon City:
University of the Philippines Press, 1996.

Paglinawan, Mamerto. Diksionariong Kastila - Tagalog (diccionario Hispano-
Tagalog). Sampalok, Manila: Limbagang "El Progreso", 1913.

Pertierra, Raul. Explorations in Social Theory and Philippine Ethnography. Quezon
City: University of the Philippines Press, 1997.

Pike, Ruth. "An Urban Minority: The Moriscos of Seville", International Journal of
Middle East Studies 2, 4 (October 1971), pp. 386-377.

Radding, Cynthia. "Crosses, Caves and Matachinis: Divergent Appropriations of
Catholic Discourse in Northwestern New Spain", The Americas 55, 2 (October
1998), pp. 177-203.

Rafael, Vicente L. The Promise of the Foreign: Nationalism and the Technics of
Translation in the Spanish Philippines. Pasig City: Anvil Publishing, 2006.

_____. White Love: and Other Events in Filipino History. Quezon City: Ateneo de
Manila Univ. Press, 2000.

_____. Contracting Colonialism: Translation and Christian Conversion of Tagalog
Society Under Early Spanish Rule. Durham, N.C.: Duke University Press, 1993.

Rafferty, Patrick. Visayan-English Dictionary. Cagayan, Philippine Islands: [s.n.],
1928.

Rajal y Larre, Joaquin. Exploracion del Territorio de Davao. Madrid: Estab. tip. de
Fortanet, 1891.

Ramas, Wilhelmina Q. Sugbuhanon Theatre: From Sotto to Rodriguez and Kabahar,
an Introduction to Pre-war Sugbuhanon Drama. Quezon City: University of the
Philippines Press, 1982.

Rizal, Jose. Noli Me Tangere: Novela Tagala. Translated by Maria Soledad Lacson-
Locsin. Manila: Bookmark, 1996.

Reed, Susan A. "The Politics and Poetics of Dance", Annual Review of Anthropology
27 (1998) pp. 503-32.


260
Retana, Wenceslao Emilio. Noticias Historico-Bibliograficas: de el Teatro en
Filipinas desde sus Origines hasta 1898. Madrid: Libreria General de V.
Suarez, 1909.

Reyes, Soledad S. The Romance Mode in Philippine Popular Literature and Other
Essays. Manila: De La Salle University Press, 1991.

Rodriquez, Eulogio B. The Adarna Bird, A Filipino tale of Pre-Spanish Origin: The
Development of Philippine Literature. Manila: General Printing Press, 1933.

Rodriguez, Sylvia. "Defended Boundaries, Precarious Elites: The Arroyo Seco
Matachines Dance", The Journal of American Folkolore, Vol. 107, No. 424
(Spring, 1994), pp. 248-267.

_____ "The Taos Pueblo Matachines: Ritual Symbolism and Interethnic Relations",
American Ethnologist, Vol. 18, No. 2 (May, 1991), pp. 234-256.

Said, Edward W. Orientalism. New York: Random House Inc. Vintage Books
Edition, 1979.

Saldana, Nancy H. "La Malinche: Her Representation in Dances of Mexico and the
United States", Ethnomusicology, Vol. 10, No. 3 (September 1966), pp. 298-
309.

San Agustin, Gaspar de. Compendio del Arte de la Lengua Tagala. 3rd ed. Manila,
1879.

San Juan, E. Jr. History and Form: Selected Essays. Quezon City: Ateneo de Manila
University Press, 1996.

Sawyer, Frederic Henry Read. The Inhabitants of the Philippines. London: S. Low,
Marston and Company, 1900.

Scott, William Henry. Barangay: Sixteenth-Century Philippine Culture and Society.
Manila: Ateneo de Manila University Press. 1994.

Serrano Laktaw, Diccionario Hispano-Tagalog. Manila: Estab. Tipografico La
Opinion, 1889.

_____Diccionario Tagalog-Hispano. Manila: Islas Filipinas, 1914.

Shay, Anthony. “Parallel Traditions: State Folk Dance Ensembles and Folk Dance in
the “Field””, Dance Research Journal, Vol.31, No.1 (Spring,1999), 29-56.

Shelton, Anthony. "The Performative Lives of Narratives, European Chivalric
Literature and the Dances of Moors and Christians" in Yousof, Ghulam-Sarwar.
Reflections on Asian-European Epics. SIngapore: Asia-Europe Foundation,
2004.

Sevilla, Fred. Poet of the People: Francisco Balagtas and the Roots of Filipino

261
Nationalism, Life and Times of the Great Filipino Poet and his Legacy of
Literary Excellence and Political Activism. Manila: Trademark Publishing
Corporation. 1997.

Siegel, James T. Shadow and Sound: The Historical Thought of a Sumatran People.
Chicago: University of Chicago Press. 1979.

Soller, Robert. "Three Centuries of Moro-Moro" in Sunday Times Magazine. May 22,
1960. P 19

Sweeney. Amin. Authors and Audiences in Traditional Malay Literature. Center for

South and Southeast Asian Studies, University of California Berkeley. 1980.

Tarling, Nicholas (ed). The Cambridge History of Southeast Asia Volume II: The
Nineteenth and Twentieth Centuries. Cambridge: Cambridge University Press,
1992.

Tiatco, Sir Anril. "Postscript to University of the Philippines Komedya Fiesta 2008:
Prelude to a Discourse on National Theater". Asian Theater Journal, vol. 26, no.
2 (Fall, 2009). pp. 281-302.

Tinggal, Zainal Abiddin. The Dances of ASEAN. Brunei Darussalam: ASEAN
Committee on Cutlure and Information. 1998.

Tinio, Rolando S. "Retracting Old Grounds: The Paradox of Philippine Theater" in
Antonio G. Manuud. Brown Heritage: Essays on Philippine Cultural Tradition
and Literature. Quezon City: Ateneo de Manila University Press, 1967.

Tiongson, Nicanor G. Philippine Theater History and Anthology 2: Komedya. Quezon
City: University of the Philippine Press, 1999.

_____. Kasaysayan ng Komedya sa Pilipinas 1766-1982. Manila: De La Salle
University Press, 1982.

_____. Ang Kasaysayan ng Komedya sa Parañaque 1850-1976. PhD Dissertation.
University of the Philippines. 1979.

Tonogbanua, Francisco. A Survey of Filipino Literature. Manila, Philippines: The
Author, 1959.

Urgoiti, Maria Soledad Carrasco. "Aspectos Folkloricos y Literarios de la Fiesta de

Moros y Cristianos en Espana" PMLA 78, 5 (December 1963), pp. 476-491.

Vargas, Giselle Chan. Nuestra Musica y Danzas Tradicionales. Serie Culturales
Populares Centroamericanas. Coordinacion Educativa y Cultural
Centroamericana CECC, 2003.

Veloso, Primitiva Salera. A Study of the Moro-Moro Elements in Five Plays by
Vivencio Rosales, a Boholano Playwright. MA Thesis. University of San
Carlos. 1975.

262

Wiley, Mark V. Arnis: Reflections on the History and Development of the Filipino
Martial Arts. Bostom: Tuttle Publishing. 2001.

Woods, Robert G. "Origin of the Colorum". Philippine Magazine Vol. Philippine
Education Magazine Vol. XXIII, 4 (September, 1926)

Yabes, Leopoldo Y. A Brief Survey of Iloko Literature from the Beginnings to its
Present Development. Manila: The Author, 1936.

Yousof, Ghulam-Sarwar. Reflections on Asian-European Epics. SIngapore: Asia-
Europe Foundation, 2004.

_____. Dictionary of Traditional South-East Asian Theater. Kuala Lumpur: Oxford
University Press, 1994.

Zafra, Galileo S. Balagtasan: Kasaysayan at Antolohiya. Quezon City: Ateneo de
Manila University Press, 1999.

Souvenir Programs

Prinsipe Reynaldo.

Ritual Roots: Unpublished dances of the Philippines, Series 5. 2006. CCP.

RITWAL: Rare and Unpublished by Ramon Obusan Folkloric Group and Authentic
Ritualists. Sep.1989. CCP.

Unpublished Dances of the Philippines, series 4. May 1999.

Unpublished Dances of the Philippines, series 3. May 1995.

Performances, Speeches and Interviews

Arakyo Production. Sinasajan, Penaranda, Nueva Ecija. May 20-21, 2005.

Principe Reynaldo Production. San Dionisio, Paranaque. May 12-13, 2006.

Demonstration by the Komedya de Baler, Aurora Day Fiesta. Baler, Aurora. August,
2006.

Prinsesa Perlita Production. Komedya ng Pilipinas Foundation. October, 2006.

Moros y Cristianos de Castellon de la Plana, Spain. International Exhibition for the
Hong Kong Chinese New Year Parade. February 15-16, 2007.

Prinsipe Rodante. Performed by School children from Dongalo Elementary School at
the Komedya Fiesta, University of the Philippines, February, 2008.

Interview. Adrian Gonzalez. Sinasajan, Nueva Ecija. May 20, 2005.

263

Interview. Jane Pendoy. Sinasajan, Nueva Ecija. May 20, 2005.

Interview. Antonio Buenaventura. Sinasajan, Nueva. May 20, 2005.

Interview. Nemie Pagrakhan, San Dionisio, Parañaque. July 19, 2006.

Keynote Speech and Personal Communication. Prof. Gabino Ponce Herrero,
Universidad de Alicante. February 29, 2008. Komedya Conference, University of the
Philippines.

Keynote Speech: "Notes for the Production of a Brechtian Komedya". Resil Mojares.
February 29, 2008. Komedya Conference, University of the Philippines.

Speech. El Discurso del Exmo. Sr. Embajador Ender Arat (Speech of his Excellency,
Mr. Ambassador Ender Arat), February 4, 2007, Sax. Transcript of the Speech
available from the Website of the Turkish Embassy in Madrid.
Retrieved November 26, 2007: