A Proposal

HINDI NA
NGAYON ANG
KAHAPON NG A fund-sourcing and
advocacy project by the
Dumingag Young and Adult

BUKAS
Show for a Cause
Credit Cooperative
DUMINGAG YOUNG
AND ADULT CREDIT Brief introduction of
the cooperative and the

COOPERATIVE need for this show

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 ABOUT US
Dumingag Young and Adult Credit Cooperative is a youth-led and –driven
movement duly registered under the Cooperative Development Authority

Goals of the Cooperative

• Financial inclusion for the youth and adults in need
• Provide affordable credit service alternative for members
• Encourage savings and shared welfare investments
• Youth organizing, education and skills development
and general welfare improvement among members

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MEMBERSHIP
The Cooperative encourages membership from the youth and adults in need for financial inclusion
and social relevance.
Applicant Members
• Requirements for regular members:
• Participated in the Pre-Membership Education
Seminar (PMES)
• Accomplished application form and duly
approved by the BOD
• Paid up the membership fee and the required
minimum paid up share for at least the
minimum subscribed share capital for regular
members
• Proposed: the members are also required to put up
initial savings, pay up the minimum end-of-cycle-
year food package subscription and the
contributory emergency support fund
Members Benefits
• Regular members shall :
• Be part of a community that mutually aims to
elevate each member’s wellbeing
• Have invested for their future financial security
through savings, food package subscription and
emergency support fund
• Gain access to affordable credit service
• Be able to help the community in general
through cooperative extension services
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SHOW FOR A CAUSE

Intentions
• Culminating event of the proposed week-long
celebration of the 2nd Founding Anniversary
of DYACC in 11 October 2021.
• An environmental advocacy campaign of
DYACC that showcases the talent of youth
particularly in Dumingag
• This proposed “Show for a Cause” shall help
generate financing for the Cooperative’s
credit and extension services through the
following:
• Ticket proceeds shall add up to the credit capital
• A ticket sold is a pledge for ten (10) trees
planted and taken cared of by the members

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 HINDI NA
NGAYON ANG
KAHAPON NG Concepts, imageries

BUKAS and direction

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 ABOUT THE SHOW
Hindi na NGAYON ang KAHAPON NG BUKAS is a call-to-action dance play
or physical theater that encourages the community particularly the youth to be
part of the solution in protecting the environment

Concepts
• Uses the language of dance to communicate advocacy
on environmental protection
• Explores the duality of the present NGAYON where
we can effect change this moment and the hindsight in
KAHAPON NG BUKAS for having missed the
opportunity on that bygone “present”
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DUALITY
While both means “today” the polarities between the two are:

NGAYON KAHAPON NG BUKAS

• “Present” today • “Recollected” today

• Choice to act now • Hindsight; “I should have done this before.”
• Positive change • Business as usual; continued destruction
• Activation and participation • Nonchalance and perpetration

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THE SHOW: HNKB

Direction and more concepts

• The play is composed of five (5) acts, all
contemporary dances
• Throughout these acts, the theme of duality is
still in play
• Acts 1 and 2 encourages introspection in
assessing one’s participation in environmental
degradation particularly with one’s excessive
lifestyle; Acts 3 and 4 highlights the negative
effects of our current actions; and, Act 5 leaves
the audience with the encouragement and
opportunity to become part of the solution in
protecting the environment

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 ACT 1: RUTH BE OLD
A partner dance inspired by the eponymous poem, Ruth be Old, which narrates the
exploitation of man on Ruth, the representation of Truth of nature or Mother
Nature herself, without restraint or remorse in return of her generosity and
kindness. The poem ends with a looming message: “Truth be told, man up or
man’s up!” Act 1 provides the context of our problem.

Imageries and direction

• Sensual or flirtatious dance between a female and
male dancer
• Female dancer as Ruth starts with a long flowing
gown; Male dancer represents the humans
• Male dancer then tightly wounds a pearl choker
unto female dancer’s neck and dons a corset around
her body signifying the transmogrifying,
constricting and vilifying endeavors of humans in
pursuit of development
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ACT 1: RUTH BE OLD
Imageries in dualities and direction

NGAYON KAHAPON NG BUKAS

• Man “mans up” – see’s the problem and starts • Man’s up – Ruth/ Nature has no more to give
to act on it and with it humanity’s demise has no reprieve
• Male dancer helps to start unravel the corset; • Male dancer grows more flirtatious and
the gown drapes back down forceful and dons the female dancer to what
appears like a body bag
• As the female dancer zipped herself in all the
way through, the male dancer drops to the
floor

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 ACT 2: “ANO ANG WASTE LINE MO?”
Act 2 is a dance chorus that examines the excessive lifestyle of man without
proper regard to where, what and whom the trash generated would end up
destroying. Think of the swaths of plastics floating in our coastal waters or
covering the beach, the contoured entrapments of trash on branches and roots
after the flood dissipates or the great pacific garbage patch

Imageries and direction

• Each dancer enters the stage and dances their
“lifestyle” one by one
• Starting with the second dancer, after finishing own
dance, he/she attaches a flap of garter from his/her
waist to the waist of the previous dancer; and so
forth
• They continue the dance chorus in unison of chaotic
fast-paced (rate of waste generation) entanglement

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ACT 2: “ANO ANG WASTE LINE MO?”
Imageries in dualities and direction

NGAYON KAHAPON NG BUKAS

• Realization that an individuals waste, no • Business as usual; trashes are amassing at an

matter how small, unless properly segregated alarming rate
and disposed, would end up polluting our
• The dancers are so entangled with each other
rivers and coastal waters
that they can no longer move; light pans out/
• One dancer starts to change pace, then fades
detached own garter flap, symbolizing his/her
taking ownership of reducing, reusing and
recycling one’s trash
• Then he/she advocates for others to do the
same
• The rest follows and they are now dancing in
slow rhythmic own-stylized movements
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 ACT 3: PAWI•KA•NG BUHAY
Read as pawikang buhay (a live marine turtle) or pawi ka ng buhay (you
eliminate life), this piece evokes the grave reality of how other vital organisms
are the ones negatively affected by human’s excessively uninhibited lifestyle. Act
3 is a partner dance showing the relationship between a marine turtle and man.

Imageries and direction

• Same-gender partners; one in net costume is the
marine turtle and the other represents the humans
• Another intimate yet dynamic choreography;
showing the intricate relationship between marine
turtles and humans for the former and disruptive
activities of humans to the marine turtle’s breeding,
feeding and nesting sites
• The dancer as marine turtle starts to drop its energy
signifying the suffocation and immobility of a
distressed marine turtle
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ACT 3: PAWI•KA•NG BUHAY
Imageries in dualities and direction

NGAYON KAHAPON NG BUKAS

• Realization that marine turtles are a vital part
of our biosphere and that protecting and
conserving them are part of our
responsibilities as stewards of the natural
world
• The dancer as man unravels the net costume
off of the other dancer who’s wearing it
• Both dancers dance in harmony through the
end
• Business as usual; marine turtles are
decreasing in number due to loss of habitat or
disrupted feeding, breeding and nesting
pattterns
• The dancer as marine turtle stops moving as
the dancer as man went into a frenzied move
till the light fades out

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 ACT 4: “DING ANG BUTO!”
A spin departure from the famous line – “Ding ang bato!” – of the iconic
Philippine super-heroine Darna, “Ding ang buto!” portrays our current society
where destructive systems of illegal wildlife poaching and trade, slash-and-burn,
illegal logging, irresponsible mining and other habitat destroying activities, coal-
powered and non-renewable energy facilities and uncontrolled waste disposal –
remains prevalent and “undefeated” despite the presence and rise of
environmental activists, enforces, implementers and allies.

Imageries and direction

• Three dancers portraying a fight scene between a
hero/heroine and a villain with a victimized
nonchalant bystander

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ACT 4: “DING ANG BUTO!”
Imageries in dualities and direction
NGAYON
• Buto that means seed signifies life and
prioritizing conservation and protection of
ecosystems and the biodiversity in them
• The dancer as the hero/heroine wins the fight
because the other dancer helps and no longer
became apathetic or nonchalant with the
issues of the environment
• All three dances in unison
KAHAPON NG BUKAS
• Buto that means bones represents the
exacerbation of ecosystems destruction and
the literal death of wildlife being killed or
trafficked for their valued body parts
• The dance continues with each dancers doing
their own stylized movements
• One by one, the dancers drop to the ground
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ACT 5: KILOS!
Imageries in dualities and direction

NGAYON KAHAPON NG BUKAS

• Kilos meaning act or move is the call-to- • Kilos as the unit of weight signifies burden/
action message for the audience to be part of hindrance or apprehension/ nonchalance of
the solution in environmental protection and becoming the change
biodiversity conservation

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APPLICATION OF DUALITY
IN OTHER COMPONENTS
OF THE SHOW
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OTHER DUALITY-THEMED AREAS

Venue and audience seating

• The seating shall be done where half of
the audience are facing the other half with
the stage in the center/ middle

Show locations
• Dumingag (area of business; terrestrial)
• Pagadian (wider audience; coastal)

Ticket
HINDI NANGAYON ANG
KAHAPON NG BUKAS

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PRODUCTION TEAM

Core Consultants (Remote)

MISAEL G. SAQUIAN AL BERNARD V. GARCIA
Lead Choreographer Consulting Artistic Director
Incoming 4th Year, Guang Ming College, Manila, PH Dancer, Tjimur Dance Theatre, TW

MARK V. PACALIOGA KATHERINE MAE G. ZABATE

Producer and Focal Person for the 2nd Dramaturgy Consultant
Anniversary Celebration of DYACC Instructor, Guang Ming College, Manila, PH
Member, Dumingag Young and Adult Credit Cooperative

THADDEUS SUIZO KENNETH M. BALAJADIA

Local Marketing Adviser and Artistic Consulting Line Producer and
Director Marketing Adviser

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THANK YOU