Cover Renzen Arboleda portrays the folkloric character of Juan Tamad ingrained in Philippine culture with fresh perspectives from choreographer-director Erl Sorilla in this new full-length ballet piece by Alice Reyes Dance Philippines (Photo: Erica Jacinto)
Renzen Arboleda portrays the folkloric character of Juan Tamad ingrained in Philippine culture with fresh perspectives from choreographer-director Erl Sorilla in this new full-length ballet piece by Alice Reyes Dance Philippines (Photo: Erica Jacinto)
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The Cultural Center of the Philippines (CCP) hosts a one-day Children’s Biennale featuring the Alice Reyes Dance Philippines’ ‘Mga Kuwento ni Juan Tamad’
Filipino kids are well familiar with the story of Juan Tamad. As the quintessential figure of laziness, Juan Tamad, who would always sleep under a guava tree with his mouth open, waiting for a fruit to fall on him, has always been the subject of warning whenever parents scold their children. Not much has been recorded of the origins of his story as it has always been a form of contemporary oral literature—usually in an informal way—where parents at the end of their ropes would yell out his name to refer to their children not washing the dishes or doing their household chores.
This stuck with Erl Sorilla, a seasoned ballet dancer who has had extensive experience at the Cultural Center of the Philippines’ (CCP) shows and is now one of the foremost dancer-choreographers of Alice Reyes Dance Philippines (ARDP). But instead of maintaining Juan Tamad under a guava tree, he launched him into an adventure where he would discover more of himself, his innate goodness, his gift that completes his identity, and his struggle to be better—like most of us Filipinos called in our youth as Juan Tamad
Read more: Alice Reyes Dance Philippines’ restaging of ‘Carmina Burana’ was of epic proportions
Above Alice Reyes Dance Philippines cast of Erl Sorilla’s ‘Mga Kuwento ni Juan Tamad’ (Photo: Kurt Copon)
Alice Reyes Dance Philippines cast of Erl Sorilla’s ‘Mga Kuwento ni Juan Tamad’ (Photo: Kurt Copon)
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This year’s Children’s Biennale of CCP held last November 9 to 10 at the Samsung Performing Arts Theater premiered Sorilla’s Mga Kuwento ni Juan Tamad, ARDP’s first full-length original Filipino ballet for children’s theatre. Besides watching the animated film of Alberto Rodriguez, Before Brabant, and experiencing fun activities within the area, select schools’ students with their parents and teachers enjoyed Sorilla’s debut show, which reconnected them to some of the beloved fables of Philippine literature.
The story follows the adventures of Juan Tamad, a misunderstood boy in a rural town, and his loyal companion, Matsing (monkey). Aided by Juan’s unique ability to converse with animals and his innate love for nature, they set out to find the village’s most prized treasure, the Gintong Niyog (golden coconut), stolen by the greedy Buwaya (crocodile). Juan was tapped because of his desire to win the heart of Maria Masipag, the subject of his affection, who is the daughter of the one who discovered the Gintong Niyog [golden coconut] and presented it to the people as the fruit of all their hardwork and labour.
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Above John Ababon as Pagong and the company of Alice Reyes Dance Philippines in Erl Sorilla’s ‘Mga Kuwento ni Juan Tamad’ (Photo: Courtesy of the Cultural Center of the Philippines)
Above Renzen Arboleda as Juan Tamad and Dan Dayo as Matsing in Erl Sorilla’s ‘Mga Kuwento ni Juan Tamad’ (Photo: Courtesy of the Cultural Center of the Philippines)
John Ababon as Pagong and the company of Alice Reyes Dance Philippines in Erl Sorilla’s ‘Mga Kuwento ni Juan Tamad’ (Photo: Courtesy of the Cultural Center of the Philippines)
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Along their journey, they encounter a variety of animals that echo stories Filipino children grew up with, such as the race of Pagong at Kuneho [turtle and the hare]; Ang Gamu-gamo at ang Lampara [moth and the lamp] that Teodora Alonso read to her son, national hero Dr Jose Rizal; and Buwaya at ang Paboreal [the crocodile and the peacock/peahen]. Juan learns valuable moral lessons through these encounters that guide him on his path. With the help of the animals he befriended along the way, Juan grows in character and ultimately finds the Gintong Niyog.
Having worked with the CCP’s arts education programme, which caters to young audiences, Sorilla has always been interested in mounting a full-length ballet for the children’s theatre.
“Since it is for educational purposes, we thought, why not do something we’ve known from literature and school? I started working on this in June 2023, and back then, the directive was to create something new,” Sorilla shares with Tatler.
Read more: National Artist for Dance Agnes Locsin’s ‘Encantada’ makes a triumphant revival
Above Dan Dayo as Matsing in Erl Sorilla_s Mga Kuwento ni Juan Tamad
Dan Dayo as Matsing in Erl Sorilla_s Mga Kuwento ni Juan Tamad
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Upon researching Juan Tamad, Sorilla discovered that he always conversed with animals. A few of the popular iterations include Juan Tamad being asked by his mother to buy mud crabs, but he set them free because he was too lazy to carry them home, and the one where Juan Tamad broke the rice pot he was asked to buy because of the flea infestation that made him frenetic. The latter showed his resourcefulness as he used the pieces to make a fine powder to kill the fleas.
“In these stories, the usual formula would be Juan Tamad having unfinished tasks due to laziness. As kids, we would dread to be Juan Tamad, making him a familiar icon for us,” Sorilla continues.
For his full-length debut as a choreographer-director, Sorilla’s artistry poured forth in retelling Juan Tamad’s narrative. He saw his ability to speak with animals as an underutilised gift.
“Maybe he was just misunderstood. He’s in a different frequency from the society,” Sorilla surmises.
Read more: National Artist Agnes Locsin: “You have to know your culture”
Above Renzen Arboleda as Juan Tamad in Erl Sorilla’s ‘Mga Kuwento ni Juan Tamad’ (Photo: Kurt Copon)
Renzen Arboleda as Juan Tamad in Erl Sorilla’s ‘Mga Kuwento ni Juan Tamad’ (Photo: Kurt Copon)
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The story of Juan Tamad, adapted formally into written literature, films, and television, carries his essential characteristics. Sorilla finds this an opportunity for him to carve his version with a strategic essentialist approach—he’s still tamad, dazed and not grounded in his reality, but driven by the hope to surmount any challenges, he can pursue his dream of ending up with his beloved.
“I want to redeem Juan Tamad. Everyone has a chance to develop their character,” Sorilla says.
Building on the formulaic narrative of Juan Tamad, Sorilla creates a hero’s journey for him as the character of Maria Masipag was infused in the story to serve as his inspiration to improve. Using his gift of communication with animals, Sorilla included the Filipino fables, adding a climactic journey for Juan Tamad’s ‘task to end all tasks’.
Karla Santos as Maria Masipag in Erl Sorilla’s ‘Mga Kuwento ni Juan Tamad’ (Photo: Kurt Copon)
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“I selected the fables that would translate well to dance and reset his story into a barrio in the Tagalog regions, like perhaps Quezon province, with coconut plantation as their primary source of income,” he explains.
Sorilla’s Mga Kuwento ni Juan Tamad offers audiences a colourful spectrum of dances. We see the ARDP ensemble work on variance in time and speed with the race scene of the turtle and the hare, expressiveness and agility in the ballad of the moths enamoured by the alluring flame of a lamp, and seductiveness in the tango of the crocodile and the peahen. The story culminates in a powerful corps de ballet that wraps the show with intensity and bliss.
Ultimately, virtues of persistence, hope, and kindness weave the fables together, gradually allowing Juan Tamad to transform into Juan Masipag.
Mga Kuwento ni Juan Tamad also features original music written by award-winning singer-songwriter Toto Sorioso, as well as sets and costumes designed by renowned Filipino director and Broadway designer Loy Arcenas. It is an amusing show for kids and an intimate experience with the magical realm of Filipino literature that opens doors for today’s generation to familiarise themselves with.
With this piece, Sorilla contributes again to the rich repertoire of ARDP. His past works, such as Ay Kalisud, Musa, Langit-Lupa, Motherland, and The Weight on Our Toes, signify his mastery and continuous exploration of lyricism for dance. Doing a full-length original ballet for the first time is an experience he will forever treasure.
“I keep reminding myself that creativity comes with play,” he says. “In the process, you get to that creativity level by tapping your inner child to connect with your young audiences and make it more effective and playful. In doing children’s dance theatre, the element of play has to be highlighted to stimulate them and for them to understand that they are in a safe space to imagine.”
The character of Juan Tamad represents many of us Filipinos because of the cultural influences we received from our Spanish colonisers—siesta, mañana habit, et cetera.
“With this work, we are trying to convey to today’s generation that we have gifts, and we only need to find our purpose in life to utilise these well and for the common good,” Sorilla says.
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About
Before assuming the Art and Culture Editor position, Franz has always had a penchant for visual and performing arts. He is passionate about exploring and writing about the local cultural scene and rediscovering the country’s storied past and rich heritage. Besides working on this luxury lifestyle magazine, Franz is an avid book reader, local traveller, museum-goer, chorister, and community theatre playwright.
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Franz earned a degree in Journalism from the University of Santo Tomas. He writes about local visual and performing artists and their craft; drinks wines, liquors, and spirits and talks about the creativity of their respective winemakers and master blenders; tries to learn more about business and investments; respects the tradition and artistry that go behind the making of watches and jewellery; and appreciates the genius of architecture and creative design.
As head of Tatler Philippines’ pool of writers, he helps them bring impactful and socially relevant stories to light.
For any leads, you may reach him through @franzsorillaiv on Instagram or franz@tatlerphilippines.com via email.
