Pilgrimage as Utopian performative for a post-colonial counterpublic

College

College of Liberal Arts

Department/Unit

Literature, Department of

Document Type

Article

Source Title

Performance Research

Volume

16

Issue

2

First Page

91

Last Page

96

Publication Date

6-1-2011

Publisher

Routledge

Abstract

Bigaa, Legazpi City, Albay, the cobacho dotoc is performed with a komedya enacting the search for the Holy Cross by Helena and Constantine. Nicanor Tiongson describes the komedya as ‘a play in verse [that] has conventions of stylized verse delivery, marching for entrances and exits, choreographed fighting and, very often, artifices to create magical effects on stage’(1999: 1). It is practised in many areas in the Philippines and is called by many names. In the town of Nabua, the community of Santa Elena (Baras), also performs the dotoc as the komedya of Helena’s search for the cross but in a longer form that includes fighting between Christians and Moors, which ends with the surrender of the non-Christians to Constantine. In the Canaman dotoc, the action is set at the end of the pilgrimage, when the cross had been found, and Helena’s entourage perform the lagaylay, a song and dance praise for the cross.

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Disciplines

Arts and Humanities | Performance Studies | Religion

Keywords

Religious drama—Philippines—Bicol Peninsula—Presentation, etc.; Pilgrims and pilgrimages—Philippines—Bicol Peninsula

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