Coconut Creativity: Spectacles and Festivity at Quezon’s Niyogyugan Festival

The provincial capitol grounds in Lucena City were transformed into a virtual theme park with colorful agri-tourism booths

Groups of dancers paraded and performed on the streets of Lucena City for the annual Niyogyugan Festival of the province of Quezon. While it was rainy in several parts of the country, the capital of the province was sunny, the heat bearing down on the dancers. With colorful costumes, they enlivened the sleepy afternoon but did not match the verve and agility of dancers in the festivals in the Visayas such as in the Sinulog Festival of Cebu and the Dinagyang Festival of Iloilo City. What attracted more attention during the parade were the floats, inventive and sometimes intricate, given the restrictions in the materials to be used.  

            It is noticeable that the penchant of the Tagalog people and region is in ornamentation. During fiestas, Bulacan traditionally puts up singkaban, arches made purely of bamboo, amazing with its curlicues and other details. Baler and San Luis in Aurora also set up decorative arches that instantly foment a festive air. In Quezon, the town of Gumaca is known for its aranya and baluarte, while Lucban is a star during its fiesta with houses abundantly decorated with kiping and farm produce.  

            In the Niyogyugan Festival, the biggest attractions were the fair booths around the provincial capitol grounds and the floats. While the festival is of recent invention, with only five years of mounting, they make their booths and floats as if they have been doing them for ages, showing a native knack for crafts and embellishment.

            The booths actually figured prominently during the birth of the festival. Niyogyugan Festival started as a trade fair to bolster the coconut industry with the aim of reclaiming the status being the number-one producer of coconuts in the country. The province of Quezon rivals three Davao provinces as the country’s top coconut producer with a total coconut plantation of 391,196 hectares, representing 78 percent of its agricultural land, with about 78 million coconut trees. Each of the 203,000 farmers in the province tills an average of nearly two hectares of coconut plantation.

Later on, taking cue from the idea of congresswoman Aleta Suarez, the trade fair was transformed into a contemporary festival in 2012. The name was a portmanteau of the Filipino words niyog (coconut) and yugyugan (dance). The festival was timed to coincide with the commemoration of the birth anniversary of Manuel Luis Quezon, president of the Commonwealth of the Philippines from 1935 to 1944, who was born on August 19, 1878, after which the province was named.

            Like any other festivals in the country, Niyogyugan is a weeks-long agricultural, tourism and cultural event filled with concerts, a beauty contest, sports, socials,  and others, culminating with a parade, street dancing and dance showdown. This year, it has held from August 17 to 27. The coconut remains the center of the celebration with the booths featuring diverse displays of coconut products, as well as other farm produce and marine catches from the province’s upland towns and coastal and island communities.

            The booths themselves were predominantly constructed using coconuts, from trunks and leaves to the husks and fibers, and were designed to represent the culture of the different towns. The capitol grounds would be transformed into a theme park and an outdoor market offering virgin coconut oil, lambanog, skimmed milk, coconut water drink, coconut vinegar, coconut sugar, cheese, yogurt cream, sauces, cooked dishes and others. Aside from food products, there were also furniture, handicrafts, house décor, fiber and netting used in landscaping, all from coconuts. Booths of the coastal and island towns, some of which took about ten hours of travel to reach Lucena to participate, sold exotic clams and conches and other marine produce. At night they were all lit up to the delight of visitors who came in droves. The past years, about 200,000 visitors came to the festival. This year, visitors reached about half a million, indicating its growing popularity. Exhibitors reportedly earned around P15 million in sales of their products.

            From thirty-eight in 2015 and thirty-nine in 2016, this year all of the Quezon’s thirty-nine towns and two cities were able to put up their own booths. Aside from products, the booths were also educational, each featuring a mini-exhibit of their tourist attractions, local culture and unique features.

            Gumaca was replica of the San Diego Fortress or Kutang Kastilyo, a well-known historical landmark of the town, embellished with a baluarte or decorative arch; while Pagbilao was in the shape of the view deck in the Pagbilao Mangrove Experimental Forest in Ibabang Palsabangon to highlight this new eco-tourism destination.

Known for its ancestral houses, the Sariaya booth was inspired by an art-deco mansion complete with a little rondalla band, which played live music in the late afternoon.

The Tayabas booth was crowned with a giant bottle of lambanog, the iconic alcoholic drink of southern Tagalog region, indispensable in social gatherings. Beside it was the Atimonan booth on which its popular folkloric creature, the mermaid, sat. The town is known to have a mermaid statue on Lamon Bay.

Padre Burgos booth was impressive with giant chickens reminding visitors of its original name, Laguimanok, so named because its coastline is said to be shaped like a chicken’s bill. Giant birds also adorned the Lopez booth, made with multi-colored buri fans or pamaypay, the known product of the town.

The Infanta booth was dome-shaped to represent the coconut, made up of myriad, polished coconut shells, while the Panukulan booth was shaped like sea waves, being a town in the island of Polillo in the Philippine Sea.

            The floats echoed the booth’s motif. There were twenty-two this year, paraded together with dancers, on the August 27, the culmination day.

Lucban fielded a float shaped like a giant carabao to emphasize its being an agricultural town, while Calauag’s float featured a humongous sea turtle, covered with tiles of coconut shells. The Padre Burgos float had a giant chicken while the Quezon float had a big red lionfish. A giant mask fronted the Tagkawayan float, giving tribute to its early settlers, the Aeta, while Sariaya highlighted its local bread, the sweet and fragrant pinagong. The Candelaria float remained simple, decorated with giant candles, but it proved to be the most polished and elegant float.

The Niyogyugan Festival proved to be a fitting tribute to the coconut, widely considered as the “tree of life” for its important role in the province and the lives of its people. The festival has shown its innumerable uses, including as material to showcase how creative Quezonians can get.

The booths at night

The agri-tourism booths were lit up at night, attracting more visitors

The Lucban booth was inspired by Kamay ni Jesus pilgrimage site

The Gumaca booth was a replica of a historic fortress

The folkloric mermaid sat atop the Atimonan booth

The Padre Burgos was formerly known as Laguimanoc, thus its booth featuring chickens

A giant bottle of the iconic lambanog atop the Tayabas booth

 Dancers from Atimonan

 Dancers from Buenavista

 Dancers from Calauag

 Dancers from Dolores

 Dancers from General Nakar

 Dancers from Gumaca

 Dancers from Infanta

 Dancers from Lucena

 Dancers from Mauban

 Dancers from Padre Burgos

 Dancers from Pagbilao

 Dancers from Perez

 Dancers from Plaridel

 Dancers from Pollilo

 Dancers from Quezon

 Dancers from Real

 Dancers from Sariaya

 Dancers from Tagkawayan

 Dancers from Tayabas

 Dancers from Tiaong

The Lasting Lure and Light of 'Maynila': Classic Novel and Film 'Maynila: Sa mga Kuko ng Liwanag' Set into a Musical

The cast and crew with director Joel Lamangan

Stories of people from rural areas, naively lured by the big, bright city lights, only to be disillusioned or met with tragedy, have been a perennial theme in many works, almost to the point of being hackneyed. But when Maynila: Sa Mga Kuko ng Liwanag, directed by National Artist for cinema Lino Brocka, came out in 1975, it was hailed for its searing social critique of its time and its unflinching depiction of urban corruption.

Maynila was based on the Edgardo M. Reyes’s novel Sa Mga Kuko ng Liwanag (In the claws of light), serialized in the leading Tagalog magazine Liwayway from 1967 to 1968, which was later published in book form.

The novel tells the story of Júlio Madiaga, who travels to Manila in search of his childhood friend Ligaya Paraiso, who was brought to the city by Mrs. Cruz to work and to study. Julio discovers the sordid reality of city life underneath the bright neon lights and eventually finds Ligaya, who is, in truth, forced into prostitution. The two plan to return home to their province, but Ligaya dies during a struggle with brothel owner Ah Tek. An enraged Julio accidentally kills Ah Tek and is chased by a mob.  

Author Reyes was part of a group of writers in the 1960s, who published their stories in the anthology Mga Agos sa Disyerto in 1964. It was a meant to rebel against the romanticized mode that dominated Tagalog writing at the time. Steeped in social realism, these writers went on to depict the ills of society and the grime of the city. Reyes wrote Sa Mga Kuko ng Liwanag, among others.

In 1970, Clodualdo del Mundo, Jr. adapted the novel into a screenplay, which was picked up by filmmaker Mike de Leon. The latter was in search of projects to produce for his new film outfit. De Leon approached Brocka to direct the film. Brocka worked with Del Mundo on the script to make it more appealing to the audience and to inject gay scenes. Maynila: Sa Mga Kuko ng Liwanag became a Philippine film classic, regarded as one of Brocka’s best works.

The idea for a musical version of Maynila started with award-winning stage and film director Joel Lamangan and Gantimpala Theater Foundation. In 2013, Lamangan was named artistic director of the 40-year-old theater company founded by the late Philippine theater icon Tony Espejo. Lamangan, who started in theater, has made a name for himself in cinema with films such The Flor Contemplacion Story, Hubog and Bulaklak ng Maynila, most of which depict society’s chronic ills.

Gantimpala then came up with its National Artists Production Series, aimed at bringing the works of National Artists, such as Severino Montano, Nick Joaquin, Wilfrido Ma. Guerrero and F. Sionil Jose, closer to the people.

“Maynila was supposed to be the first movie by a National Artists for film to be part of the National Artists Production series,” related Lamangan, who was an extra in the movie version (the one who kills Julio Madiaga in the end). Unfortunately, the project did not push through.

Years later, Grand Leisure Corporation bankrolled the much-awaited Maynila sa mga Kuko ng Liwanag, the Musical. Although the musical began with Brocka in mind, Lamangan said the stage adaptation is based more on the novel. The gay scenes were, thus, not included.

Lamangan also revealed he is not keen on recreating the look, feel and modes of the 1970s, in which the story is set, but he concentrated more on the story of exploitation, and on how to condense the story into a two-act and two-hour play featuring music and choreographed dance routines.

“Dapat ‘yung mga tauhan ay lumabas na mga tunay na taong may puso, kaluluwa, at damdamin na kumakanta at sumasayaw (The characters should come out as real people with heart, soul and emotions while singing and dancing),” shared Lamangan. “Dapat na maramdaman ng mga manonood na nagkukuwento sila ng ukol sa kanilang mga agam-agam, hinaing, siphayo, at pangarap (The audience should feel they are telling them of their apprehensions, grievances, sadness and dreams).”

Lamangan gathered an artistic staff composed of people prominent in their fields. Writer-historian Jose Victor Torres and Em Mendez wrote the libretto, while Von de Guzman composed the music and serves as the production’s musical director. Joey Nombres serves as lighting designer. The dance routines are choreographed by Douglas Nierras, while Jun Flavier Pablo concentrates on production design. Fullhouse Asia Production Studios, Inc. acts as line producer.

De Guzman has collaborated with Lamangan in several film projects, but Maynila, the Musical is his first grand production.

“Direk Joel wanted memorable melodies for the play,” he related. “So the ballads will have the feel of a George Canseco and/or Willy Cruz composition, the fast numbers we have incorporated very Filipino elements of singkil, Ati-atihan chants, mostly percussion-driven kind of music. And then we have the strains of kundiman in the other numbers.”

De Guzman added he did not rely much on music from 1970s, but intends to merge Filipino pop music romanticism with the orchestral power of a Stravinsky. He also uses Filipino instruments such as the banduria.

Nierras, in creating the choreography, also did not rely much on the dances of that decade. He described his choreography as a compendium of dance styles, inspired by West End and Broadway, as well as Philippine folk dances.

The production also assembled as powerful cast led by Arman Ferrer, Sheila Valderrama-Martinez and Lara Maigue. Classically-trained singer Ferrer plays Julio Madiaga, while Valderrama-Martinez and Maigue are alternating as Ligaya Paraiso.

“I was excited to join this production because I wanted to work with Joel Lamangan whom I’ve never worked with before,” said Valderrama-Martinez.

“I’ve been watching Hilda Koronel in the Brocka movie over and again, and I’ve been talking to friends from University of the Philippines where they worship before the shrine of Maynila: Sa Mga Kuko ng Liwanag,” Maigue quipped.

Other members cast include Floyd Tena (as Pol), Noel Rayos (Atong), Rafa Seguion-Reyna and Joseph Puducay (Imo), Aicelle Santos and Rita Daniela (Perla), Jim Pebanco and Joseph Billezar (Mr. Balajadia), Khalil Kaimo (Gido), Jeffrey Camanag (Omeng), Romcel Binquis (Benny), Randy Rey (Frank), and Dulce and Ima Castro (Mrs. Cruz).

With an impressive lineup of people making up its artistic backbone, Maynila sa mga Kuko ng Liwanag, the Musical is poised to become an important work to come up in the year. For Lamangan, the story of the Maynila will resonate with audiences, especially during this time of uncertainty and normalized human rights abuses. He also said that the issues tackled in the work are still very relevant.

“Hindi nagbabago ang kondisyon since 1970s. Marami pa ring taong tulad ni Ligaya. Ang nagbabago lang fashion (The condition doesn’t change since 1970s. There are still many people like Ligaya. The only thing that changes is fashion),” Lamangan said. “Ang katotohan pa rin noon ay katotohanan pa rin ngayon (The reality then is still the reality now).”

While social decay still persists, Lamangan pointed out the light that endures in all of us: “It shows that in the midst of the squalor, despair, and violence, pure love still exists like the one shared by Julio Madiaga and Ligaya Paraiso.”

Maynila sa mga Kuko ng Liwanag, the Musical  will premiere on September 30, 3 P.M. and 8 p.m. and will be onstage on October 1, 3 p.m. and 8 p.m.; October 4, 8 p.m.; October 5, 8 p.m.; and October 6, 3 p.m. and 8 p.m., at the Kia Theater in Cubao, Quezon City.  For ticket inquiries, contact Bards Lapid through mobile number 0917-8466704, or landline numbers 897-7142, 890-0853 and 890-6067, or Ticketnet at 911-5555.

A preview of the opening number

Armand Ferrer as Julio Madiaga, and Lara Maigue and Sheila Valderrama-Martinez as Ligaya Paraiso

Armand Ferrer as Julio Madiaga

Lara Maigue as Ligaya Paraiso

Dulce and Ima Castro as Mrs. Cruz

Floyd Tena as Pol

Jim Pebanco as Mr. Bajaladia and Ahtek

Kahlil Kaimo as Gido

Noel Rayos as Atong

Rafa Siguion-Reyna as Imo