The Pista nin Teatrong Bikolnon 2025 commenced on March 28, bringing a series of theatrical performances from various theater groups to marginalized communities in Albay. With the theme “GIMATA: Reclaiming People’s Narratives,”the festival aims to bring theater closer to the masses while serving as a platform for discussions on social issues, especially in light of the upcoming elections.
Heart of the Community
On its first day, performances took place at the covered court of Bonga, Bacacay, featuring theater groups Sining Banwa from Legazpi City, Marsineatro from MORMS of Guinobatan town, and Pintakasi from Quezon Province. The event was attended by local residents, including eager young audiences experiencing live performances for the first time.
Sining Banwa opened with their play “Tao, Bayan, Electric Fan,” a piece focused on political narratives. According to director Sari Saysay, their production explores how the current administration manipulates the concept of “unity” to mislead the public. As a community-based theater group, Sining Banwa sees performing in grassroots communities as essential.
“Bumabalik tayo sa mga komunidad kasi dito nanggagaling ‘yung mga kwento. Ito ang puso ng teatro. Yung mga pagtitipon sa mga komunidad para maghayag ng mga saloobin, ng mga opinyon, para pag-usapan ang mga isyu ng lipunan. At dito natin napapakita na ang teatro, hindi siya hiwalay sa mga komunidad; dapat kasama siya sa buhay ng mga komunidad.”
(“We return to communities because this is where the stories come from. This is the heart of theater—gathering in communities to express thoughts, opinions, and discuss social issues. This is how we show that theater is not separate from communities; it should be part of their lives.”)
Marsineatro followed with a play on environmental conservation. Director Domalyn Perdigon shared that they used deities as symbols to highlight humanity’s deep connection with nature and the destruction caused by neglect. As a school-based theater group, this was their first time performing outside a traditional stage setting.
“Actually, this is our first time. Mostly, lagi kaming nakakulong sa apat na sulok ng entablado. Gusto natin maipakita na may ganito pala—puwede rin palang makita ang teatro sa isang komunidad.”
(“Actually, this is our first time. We are usually confined within the four corners of the stage. We want to show that theater can also be seen within a community.”)
The festival also featured Pintakasi, a group from Alabat Island, Quezon, who staged a play depicting the repercussions of the Kaliwa Dam project on Sierra Madre and nearby towns like Infanta and General Nakar. Artistic director Gabriel Villaruel used the mythical Santelmo—a flickering fireball often seen in forests—as a metaphor for deceptive promises of development.
“Parang ganoon din ‘yung mga development projects ng gobyerno. Akala natin, pag nagpatayo tayo ng tulay o gusali, masosolusyunan nito lahat ng problema ng bayan. Katulad ng pagpapatayo ng Kaliwa Dam—nakakatakot siya. Oo, masosolusyunan niya ang kakulangan ng tubig sa Maynila, pero ilang pamilya ang mawawalan ng bahay? Ilang sanctuary, indigenous land, at hayop ang mawawalan ng tirahan?”
(“Government development projects are like that too. We think that by building a bridge or a building, all the people’s problems will be solved. But take the construction of the Kaliwa Dam, for example. Yes, it may solve Manila’s water shortage, but how many families will lose their homes? How many sanctuaries, indigenous lands, and animals will be displaced?”)
Beyond the play’s message, Pintakasi also highlighted the importance of giving young people from remote islands a chance to showcase their talents on a broader stage.
“Maraming kasali sa grupo namin ay anak ng magsasaka at mangingisda. Hindi kami laging nakakakita ng theater group. Kung gusto naming mag-teatro, kailangan naming pumunta sa Maynila. Pero pinapakita ng Pista nin Teatro na kahit galing ka sa malayo, maipapakita mo ang talento mo sa ibang panig ng bansa.”
(“Many in our group are children of farmers and fishermen. We don’t often see theater groups. If we want to do theater, we have to go to Manila. But Pista nin Teatro shows that even if you come from a distant place, you can still showcase your talent in other parts of the country.”)
Free Expression Through Art
According to Frida, an organizer from Sining Banwa, the festival is about bringing theater to communities that rarely get to experience it. She also emphasized the role of theater as a medium for free expression and social discourse.
“Importante ito sa mga komunidad kasi hindi nila ito nakikita araw-araw. Ang maganda sa teatro, malaya tayong nakakapagbahagi at nakakapagtalakay ng mga gusto nating sabihin bilang performers. Teatro ang salamin ng realidad, kaya basta may production o performance na nakakarelate sila bilang komunidad, tagumpay ‘yon.”
(“This is important for communities because they don’t get to see performances like this every day. What’s great about theater is that we can freely share and discuss the things we want to say as performers. Theater is a mirror of reality—so as long as they see a production they relate to as a community, then that performance is a success.”)
Through their performances, Frida hopes that young audiences will be inspired to create their own artistic expressionsin the future. The festival’s success was made possible not just by the participating groups but also through the growing network of the theater community.
“Malaking bahagi ng pondo namin ngayon ay mula sa mga nanonood ng palabas namin, nakasama sa performances, at supporters namin for the longest time—kasama na rin ang mga groups na katuwang namin.”
(“A significant part of our funding now comes from those who watch our shows, have performed with us, and have supported us for the longest time, as well as the groups we collaborate with.”)
More than just the performances, the true measure of success, according to Frida, is how theater has empowered different theater groups, especially those from schools.
“Majority ng kasali dito ay school-based. Na-experience nila ang pag-facilitate, pag-house-to-house sa mga bata, at pag-gather ng mga tao para sa ganitong klase ng performance.”
(“The majority of those who joined are school-based. They really got to experience facilitating, going house-to-house to invite children, and gathering people for this kind of performance.”)
On the evening of March 28, the event continued in Legazpi City with a new lineup of performances, followed by shows in Tabaco and Tiwi, Albay on March 29. With each performance, Pista nin Teatrong Bikolnon 2025 remains steadfast in its commitment to making theater a platform for social discourse—accessible to all.I Helen Grace Balean