“Pista nin Teatrong Bikolnon” again brought together communities and campus-based theater companies from across the Bicol region, celebrating its sixth year of taking plays in their rawest form to the ordinary people.

This time, the festival carried the theme “Gimata: Reclaiming People’s Narratives,” which organizers aimed at highlighting the importance of community narratives and promoting a deeper understanding of Bicol’s history and culture, particularly in relation to the May midterm elections. 

“Theater has the power to inspire, to educate, and to challenge our assumptions. It’s a powerful tool for promoting social change, and we’re proud to be part of it,” said Julie DM Vega, the festival director and senior artist of Sining Banwa, one of the 12 participating theater groups.

Pista nin Teatrong Bikolnon featured artists from theater companies based in Naga City, Ateneo de Naga University, and Camarines Sur National High School (all in Camarines Sur), Tabaco National High School, Guinobatan, and the cities of Legazpi and Ligao (all in Albay), Bulan (Sorsogon), Daet (Camarines Norte), Bulacan State University, Cavite City (Cavite), and Alabat Island (Quezon).

Their plays, which focused on environmental, social, and personal issues, were staged on March 27–30 in rural communities throughout Albay, including Joroan, Tiwi, Mabinit, Sogod, Bonga, and Bantayan. 

These included “Tinola” by CNSC Dulayag, a heartwarming exploration of marriage and partnership through the lens of cooking; “Gading Acts 3 and 4” by Dulaang Agaab, a thought-provoking play delving into the story of a miraculous entity; and “Kikay Kit” by Kawa-Kawa Cultural Guild, an introspective one-act play about a middle-aged father’s journey of self-discovery.

Other notable plays were “Posporo” by Marahuyo Production, which tackled the exploitation and commodification of individuals, particularly women; “Siklong Walang Hanggan” by Morms Marcineatro, a visually stunning exploration of humanity’s relationship with nature; and “Da Ipis Kronikels” by Something Creative, a quirky imagining of a world where cockroaches have inherited the earth.

The festival also featured “Gate of Heaven” by Tabsing Kolektib Philippines, a poignant exploration of mortality, morality, and redemption; “Oragon: Sarung Musikal” by Teatro Tabaqueño, a rousing musical celebrating Bicol’s greatest heroes; and “Sinag: Bayanihan” by Art Vox, an uplifting look at social justice, activism, and collective action.

Moreover, there were the haunting “Inara” by Bulsu Entablado, a story of a comfort woman during World War II; the thought-provoking “Yugto ng Santelmo” by Pintakasi, a foray into identity, community, and legend; and the witty “Tao, Bayan, Elektripan” by Sining Banwa Albay Performance Collective, a satire on politics, power, and corruption.

According to Vega, some rural communities have their own narratives that are often misunderstood, making them vulnerable to disinformation and misinformation. 

She said that in the current election campaign, for example, the rural folk are misled into voting for those whose candidacies are pegged only on celebrity and whose supposed advocacies do not align with the communities’ needs. This is not because the rural folk are undiscriminating, but because they may only be familiar with one narrative, she said.

Vega said the festival did not intend to change a community’s narrative but, rather, to offer alternative perspectives. The goal is to provide a platform for diverse stories to emerge and for the community to take ownership of these stories, she said. 

“Let’s discuss and share our current narratives and meet each other halfway,” she added.

The festival organizers deliberately chose the rural areas because the residents seldom have the opportunity to watch theater performances. 

Janela Apon, the Sangguniang Kabataan chair in Barangay Sogod, praised the festival’s activities, particularly the Survive Excel program. “This program provided a platform for the youth to connect with the community’s realities, fostering strong relationships between the youth and community members,” she said, adding:

“It encouraged the youth to step out of their comfort zones, deliver meaningful messages, and inspire others to create positive change.”

Apon cited the theater workshop which, she noted, helped young people develop their potential in theater arts. This, in turn, boosted their confidence to share their talents and interact with diverse people while learning and having fun, she said.

But Apon also acknowledged the challenges in engaging the youth, specifically their active participation. “It’s essential to collaborate with other stakeholders, such as barangay officials, school administrators, and related arts organizations,” she said.

“By meeting with arts teachers within the school community and participating in their classes, more students interested in theater arts can be encouraged to join.” 

To address the inadequate funding for the festival, the organizers earlier launched a “Piso for Pista” campaign on Facebook to seek donations to support the delegates from across Bicol.