GRAY CLOUDS LOOMED ahead of us Ate Betty worried it might rain on Arko’s parade in Antipolo. Kuya Ben expertly negotiated the heavy traffic that stalled but did not threaten us so, to ease her anxiety, I claimed fair weather before commencing to pray the rosary.
Sadly, however, we have held the activities up; the scheduled 5 pm start of the program was not yet underway when we arrived at Le Blanc, the Bistro-cum-Resort venue of the 35th Anniversary of Arko ng Pilipinas (see filcatholic.org issue of 4-12-15). Kiddult John Paul happily met us at the entrance and gave me a fond, familiar, exuberant hug. He was followed by Mariflor, whose hair was cropped, probably recently (I assumed) for the purpose of their number in the program (I was only half right, the do was to mark her turning 22). No matter, the pair’s representation was enough to confirm that I’m still remembered by them. I had to inwardly promise to make the write-up as endearing as the emotion that these two engulfed me with.
Because Ate Rica never loses steam, she was better than the last time I saw and heard her delineate her emceeing enterprise. She does not disappoint as well. As soon as she saw us emerge, after a brief, benign beso, she gave us ample time to mingle, partake of the yummy bibingka on the food stub, shoot the breeze with Chairman Kuya Ed, her husband (whom I met for the first time), Chair Rhoel Recheta, and Dette (a winsome guest by the name of Maria Lourdes, troop to the hall, position ourselves up front, and, at 35 minutes past five, took to the mic.
She called on Kuya Israel de Ocampo to put the people in proper perspective (he is with La Mennais Brothers of Christian Instruction, a friend of L’Arche (Arko in French), and a former volunteer). This he did by reading out an opening prayer-poem in a Tagalog translation of St. Francis of Assissi’s “The Challenge” by Jesuit Fr. Albert Alejo. I share it here for its timeless, timely essence and relevance.
Daluyan ng Kapayapaan
Panginoon, ako’y gawin Mong daluyan ng Iyong hinahon at kapayapaan.
Pag may kagalitan, pag-ibig ialay. Pag may kasakitan, patawad iakbay.
Pag may kaguluhan, ugnaya’y tibayan. Pag may kaguluhan, tiwala’y lakasan.
Pag may kamalian, totoo’y itanghal. Pag may kabiguan, pag-asa’y iluwal
Pag may kalungkutan, ligaya’y isayaw. Pag may kadiliman, liwanag itanglaw.
O Gurong butihin, turuan Mo akong hanap-hanapin ang makakalinga kaysa kalingain,
ang maka-unawa kaysa unawain, ang makapagmahal kaysa mahalin
Pagkat kung iisipin, nasa pagbibigay ang kasaganaan, nasa paumanhin ang kapatawaran,
nasa pagkamatay ang muling pagsilang sa kaginhawahan na walang hanggan.
And then, right after the Lupang Hinirang, Ate Rica let loose her candid charm.
Billed as “Piyesta sa Punla,” the event depicted the traditional festive color and character of the country. The place was decked out like a typical town Fiesta, with streamers aloft and aflutter, and most of the core leaders and members dressed in native attire. The stage backdrop superbly captured the theme, and we were pleasantly entertained and impressed by the presentations of the guest folk dance troupe, the Simeona F. Chanyungco Lahing Kayumanggi of Marikina (SFC-LKM). Ate Betty intimated to me on the way home that their initial Igorot number (Uyauy), performed by three male dancers, was rather risqué, for she was worried that their skimpy G-strings might not hold. Nothing of the sort took place, and they were ably complemented by three “tribal” women.
The glib emcee made sure she thanked the events sponsors, with special emphasis on those who insisted to remain anonymous albeit generous, and the presence of people with whom Punla (see filcatholic.org 4-14-16 issue) collaborated on online events during the pandemic. After the Igorot dance, she announced that what will follow is an old video of “Kaleidoscope World” featuring Benito and his supporting female core leaders and members.
The live dancers were back with Asik Singkil, a shift from the mountain to Maranao’s fused ethnic instruments and vivid costumes. If the Igorot weave was basic in the tribal piece, the Singkil finery consisted of colorful and glittering cultural outfits. And the garments were given gyrating justice by the 5 pairs of male and female terpsichores.
If that regal number sated the audience’s taste for fine choreography, Benito’s live return quenched the thirst for new wave. With backup dancers Mariflor, Faith, and other kiddults and their two leaders), Benito’s rendition of Iñigo Pascual’s “Dahil sa Iyo” was almost spot-on. With canned music to take his cue from, Benito’s essaying a fast pop song (and I forgive his visible counting as his cue), was no mean feat! And he was trying to dance, too! Evidently egged on by the previous come-ons, and inspired by his game companions. Not bad for this guitarist/keyboardist on the side. Rather, very good indeed!
The SFC-LKM’s next number was a solemn song-dance, “Pastores Bool,” a belated Christmas folk tableau. Fittingly, the costume change featured earth tones (to indicate the humility of the reason for the season), the only extravagant difference being the pervasive, generous, smiling expressions of the four pairs of danseurs.
A brief advertisement of products from the workshop outputs of the kiddults followed the rousing rendition of Benito, decidedly the star of the day!
This intermission gave me time to ponder and praise the inseparable connection between core leader Richard and kiddult Jordan (he who inhabits a wheelchair) which has been since time immemorial. On our way out, I glimpsed Kuya Richard lovingly liberate Jordan from his restraint and place him in the van preparatory to their trip back to Cainta, the twain’s (and the fammunity’s) home. I’d be more blessed, I thought, if I had Richard’s fortitude.
Back to earth, the audience was treated to a succession of four lively, animated (Kalatong, Maglalatik, Kumakaret), audience-participating (Tinikling) folk dances. The motley was evidently a clever way of gathering them all up to curtsy at curtain call. But not before they invited the members of the audience to participate in the challenge of keeping up with the last dance, while two people beat, tap, and slide bamboo poles on the ground and against each other in sync with the music, without getting caught between the poles, which is a guaranteed ouch of embarrassment, if not hilarity. The moment was electric. As the dancers escorted some of the kiddults to give the challenge a try, the core members gamely joined, along with the other members of the audience, for a fun, frolicsome experiment. Expectedly, the entire ensemble received a roaring round of applause when it was time to bow and wave goodbye.
At this juncture, Ate Rica disclosed her fear that there seemed to be an audition being conducted, from Benito’s pulsating Iñigo Pascual piece, to John Paul’s adrenaline-pumping participation, Mariflor’s and Faith’s inspired grooves, and the others joining in the Tinikling free-for-all, and she dreaded losing the core members to promising careers, tongue-in-cheek, of course, which was not lost on the appreciative audience.
Another Punla segment followed, Kinang, Pilipinas, a live ensemble that featured still energetic John Paul, and the choreographers, in sync with the other kiddults, clearly confirming the merriment on their outdoors-wide grins.
Two more videos, “Love is for Singing” and “We are All God’s Children” showcased the indomitable zest for life and adventure of the incredible kiddults, most of them acting out the film clip in earnest. I thought it was wise of Ate Rica to make that moment linger by acknowledging – again – the generosity and presence of donors and benefactors, known and nameless, for their unstinting collaboration with Arko’s advocacy. And she called on Messers Eugene Calimag and Kristoffer Franco, from the audience, to say a few words on behalf of Solemne, one such sponsor. The low-keyed Eugene expressed gratitude for being part of a noble endeavor, while his companion, similarly humble, stood aside.
Ate Rica thanked both andequately and segued from solemn to spirited by enjoining the audience to greet/sing an anniversary song to birthday boy Chairman Rhoel Recheta. Instantly doubling the celebration’s jubilation. Slightly caught unawares, the Chair happily acknowledged the tribute and wished for many more personal and collective triumphs for everyone involved in the organization.
Afterwards, Ate Rica gave the cue for everyone to gush (a sigh of relief) let their hair down, and dance, dance, dance. At which, not needing prompting, the kiddults immediately took to the dance floor, grabbed whoever was within arm’s length, and did, did, did!
The clouds were no longer gray for dusk has claimed the day on our way home from another enriching experience, which anything that has to do with Arko, L’Arche, or Punla is. Until the next invite from my dear friend Ate Betty emerges. Amen.
2014 Copyright. Claretian Communications Foundation Inc
