Uwahig

Uwahig combines the narratives of the Indarapatra-Sulaiman Maguindanaon epic and the Bukidnon flood myths. Transcreated for the stage, it performs a deconstructed genesis of pre-settler life, meanings that the viewer may draw in various ways extending to representation of the confusions of Orders in these pandemic times.

INDARAPATRA begs his brother SULAYMAN to save Mindanao from destruction. People on earth build a large raft in anticipation of a large flood. When the giant crabs fall to earth, the waters overflow and flood the land. Indarapatra places a large sapling by the window. The tree will tell him whether Sulayman has been successful or not.

Sulayman flies across mountains and battles the curses kurita (a many-limbed crocodile), the bird-like tarabusaw and pah, another monstrous bird. In the ensuing battle, the wing of pah is severed and falls crushing Sulayman.

The tree wilts to signal to Indarapatra the death of Sulayman. Distressed, Indarapatra continues the fight against the remaining monster — the seven-headed bird. In the battle, Indarapatra and the monster die fighting, and the people carry the remains of the brothers to the distant horizon.

The Prologue includes the opening song of the Poet made popular by its inclusion in a Philippine TV network show.

“Uwahig” premiered for the UNESCO-ITI festival at the CCP in 2006 and had since performed in national and international festivals including the Asia Pacific Bond in Saigon, the Taipei Arts Festival.

Book and Direction: STEVEN P.C. FERNANDEZ Music: GEEJAY WILLIAMS and MEBUYAN Choreography: FELIMON BLANCO MELVIN PASCUBILLO and the IPAG Creative Collective

REVIEWS

“…very good…. I could not keep my discomfort … amazing how people — especially those in Europe — have disregarded the issues you presented…” Tobias Biancone, UNESCO-ITI, Secretary General

“… the epic of Indarapatra and Sulayman, whose cosmic battles became a metaphor for the modern-day decimation of parts of Mindanao. … Steven Fernandez’s production boldly challenged conventionality by eschewing dialogue altogether, preferring the haunting elemental noises his eight-person cast made, side by side with a neo-ethnic techno score, to conjure the Day of Creation in Mindanao lore. …the Manila theatre scene is so much the poorer for not being able to see, on a regular basis, shows like these that throb with native vibrancy and spirit…” Gibbs Cadiz, The Philippine Daily Inquirer

“…very beautiful… very intense…” Jeff Janisheski, National Institute of Dramatic Arts (NIDA), Australia

“It was very tragic, very sad, and very painful.” Janys Allen, University of Wollongong, Australia

“…very lovely… wonderful storytelling!…” Edith Podesta, La Salle College of the Arts, Singapore

“I really like the whole play… wonderful… I cannot explain [my feeling]…”  Hardy Bin Buyong, Director, University Sains Malaysia