tanza fiesta
TRANSCRIPT
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Zarah Dane Tan
Professor Felipe De Leon III
Art Studies 201 – The Image of the Filipino in the Arts
THE TANZA FIESTA AS A MANIFESTATION OF
FILIPINO CULTURE
Fiestas were a part of my life as a child but it has never been the center of our
family’s universe. Sure, we join in the festivities but only when we can. We do not feel
obligated to take part in any of its activities or feel the need to set aside a day for it. As I
grew up, I found that some of my classmates and friends feel that it is important and some,
like my family, do not. I did not feel any pressure to change my ways until I got married to
someone who did.
According to Aquino, “[e]very town and city in the Philippines has a fiesta of its own;
whatever time of the year it is, there's sure to be a fiesta going on somewhere” (Philippines
Fiestas - Fiestas in the Philippines). The word itself is Spanish, so can it be considered part
of Filipino culture or Spanish? Aquino states that:
“[t]he roots of Philippine fiestas go back even further - back to before the Spanish
conquistadores arrived in the 1500s. In the old animistic culture, regular ritual offerings were
made to placate the gods, and these offerings evolved into the fiestas we know today. A
wonderful f iesta season means good luck for the rest of the year” (Philippines Fiestas - Fiestas
in the Philippines).
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Is origin enough to settle the question of how Filipino the fiesta is? Perhaps, and it
will be beneficial for us as a people to have this information backed by solid research. It is
important to settle this question of “Filipino-ness” as these events are prevalent and
widespread in the country.
This paper aims to answer the question: Does the Tanza fiesta reflect Filipino
culture? To answer this question, this paper will examine the Tanza fiesta under the lens of
our class discussions and readings in Art Studies 201. The following characteristics are
believed to be the most pertinent to the Tanza fiesta.
1. Love for connections, especially to people
2. Togetherness is happiness
3. My space is your space
4. Expressiveness: Maximalism
5. Religiosity
6. Highly participatory
7. Providing choices
8. Creative improvisation
We will first describe in detail the Tanza fiesta then cite concrete examples from it
illustrating the eight aforementioned characteristics of Filipino culture. If we are able to
illustrate at least half of these characteristics, we may conclude that the Tanza fiesta indeed
reflects Filipino culture.
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This paper is limited to the analysis of the Tanza fiesta only as the author
experienced it. Although the author aims for objectivity, some subjectivity cannot be
avoided since the analysis will be based from her own experience.
THE TANZA FIESTA IN DETAIL
Even before we got married, my husband has always invited me and our common
friends to their fiesta in Tanza, Cavite which is a bit weird because he does not live there;
only his mother’s side relatives do. I have not been exposed very much to fiestas in the
provinces mainly because we do not have a province; my mother’s family is from
Mandaluyong and my father’s is from Taguig. We may consider Taguig to be more
provincial because Mandaluyong started building malls and other more modern facilities
earlier than Taguig. In Taguig, I was able to experience the fiesta fluvial parade once or
twice. This passive watching of pagodas came to define for me what the fiesta is. Fast
forward to 2006 to my first Tanza fiesta. Needless to say, I was in for a surprise. Looking
back, it can even be considered as culture shock.
Fiestas in the Philippines are held to celebrate the feast day of a patron saint
(Aquino). The fiesta in Tanza is no different in this aspect from other fiestas in the country.
It is held during the feast day of its patron Saint Augustine every 28th of August and
continuing on to the next day. Saint Augustine’s statue graces the plaza in front of the Holy
Cross Church in Barangay Poblacion I in Tanza, Cavite (see Figure 1).
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Figure 1: Saint Augustine's Statue in front of the Holy Cross Church (FVelasquez)
The religious nature of the festivities means that all activities are centered around
the Holy Cross Church. Figure 2 shows its façade. These activities include 1) the Mass, 2)
the karakol , 3) the marching band competitions, 4) the tiangges, 5) the evening procession,
6) the palma, and 7) the toro. These will all be described in detail.
Figure 2: The Holy Cross Church in Barangay Poblacion I, Tanza, Cavite (Juedral)
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Saint Augustine is lovingly called Tata Usteng by the residents, using the –eng
diminutive of the Tagalog language. This is evidenced by the many streamers put up during
the fiesta. An example of these is in Figure 3.
Figure 3: Tata Usteng Streamer (Alas)
As soon as an invited guest arrives in a Tanza home during the fiesta, s/he is
welcomed warmly and pushed to eat. This is no surprise as this is the same custom
anywhere in the Philippines where you are a houseguest. What is surprising is that even
guests who were not invited can expect the same welcome with just the greeting
“Nakikipiyesta po!”
The fiesta guest may partake in any of the activities proposed during the two-day
event. As stated above, these are 1) the Mass, 2) the karakol , 3) the marching band
competitions, 4) the tiangges, 5) the evening procession, 6) the palma, and 7) the toro.
These are described below.
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THE MASS
Because it is the feast day of their patron saint, the mass is celebrated every hour in
the Holy Cross Church during the fiesta. This is important for the residents as evidenced by
the crowd during these masses (see Figure 4).
Figure 4: Mass in the Holy Cross Church during the Fiesta (Alas)
THE K ARAKOL
The karakol immediately follows the morning High Mass. This is a procession of a
statue of Saint Augustine carried by a group of dancing devotees. The screen capture image
in Figure 5 unfortunately does not do justice to this merry activity. It is better viewed from
the originally uploaded YouTube video where it was taken from.
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Figure 5: The Karakol (MarK)
THE MARCHING BAND COMPETITIONS
Held in the afternoon are the marching band competitions where groups from the
constituent barangays of Tanza compete. Below is an image captured from a streaming
video of St. Augustine Band, one of the groups who competed during the 2012 fiesta
(Figure 6).
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Figure 6: The Saint Augustine Band during the Marching Band Competition (http://downloadfromyoutube.co/)
THE T IANGGES
Anytime during the two-day fiesta, guests may shop in any of the tiangges around
the area. Tiangges are small, makeshift stores that sell goods from clothing (Figure 7) to
religious sculptures (Figure 8) to food (Figure 9).
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Figure 7: Tiangge selling clothing (Alas)
Figure 8: Tiangge selling religious sculptures (Alas)
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Figure 9: Tiangge selling food (Alas)
THE EVENING PROCESSION
The statue of Tata Usteng is once again paraded around the town during the evening
procession. This time with more reverence than the morning karakol. (See Figure 10)
Figure 10: Evening Procession (Ocampo)
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THE P ALMA
The evening procession is followed by the palma, a fireworks display and a release
of giant paper lanterns. The fireworks are average, not as big or grand as what you will see
in the city during New Year’s Eve and other celebrations (see Figure 11). However, the
giant paper lanterns are impressive. Some of them even measure up to six feet tall and they
last into the night (see Figure 12). Spectators may still be able to spot them in the sky after
all the festivities are done.
Figure 11: Fireworks during the Palma (classy64jas)
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Figure 12: Lanterns during the Palma (clumsygeek09)
THE T ORO
Another activity held in the evening is the toro which some residents deem to be the
highlight of the fiesta. During the toro, giant papier-mâché figures with fireworks attached
to them chase fiesta participants around the town plaza (see Figure 13). It is very crowded
and scary considering the fact that one can get trampled upon during the chase as well as
get sparked on by the fireworks. However, during all the toros the author participated in,
no one has complained about these dangers. It seems that the adrenaline rush that
accompanies this activity is enough to negate these inconveniences.
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Figure 13: The Toro (clumsygeek09)
HOW FILIPINO THE TANZA FIESTA IS
The eight characteristics of Filipino culture used for the analysis of the Tanza fiesta
are from the presentation Understanding the Filipino by Prof. Felipe De Leon, Jr. These
characteristics are:
1. Love for connections, especially to people
2. Togetherness is happiness
3. My space is your space
4. Expressiveness: Maximalism
5. Religiosity
6. Highly participatory
7. Providing choices
8. Creative improvisation
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LOVE FOR CONNECTIONS, ESPECIALLY TO PEOPLE
Quoting from the presentation of Prof. De Leon, “[Filipinos] are [a]mong the most
highly relational in the world” (Understanding the Filipino). The Tanza fiesta is a religious
celebration teeming with opportunities to socialize. In all seven events mentioned in The
Tanza Fiesta in detail , not one is done individually. Although for most events, the
participants may go alone; this does not mean that they forgo conversation. We may
therefore conclude that this characteristic is present in the Tanza fiesta.
TOGETHERNESS IS HAPPINESS
Several markers for this characteristic are mentioned in Prof. De Leon’s
Understanding the Filipino presentation. The following markers are illustrated by examples
from the Tanza fiesta, therefore, it illustrates the characteristic Togetherness is happiness.
1. Filipinos hardly eat alone. Although not identified as an event in this paper, the
handaan is one of the integral parts of the Tanza fiesta. It is literally a feast
because of the food served. Eating is communal and seating is wherever
available. No one eats alone during the Tanza fiesta.
2. Invite a person to your party, how many will come? Invitation to the Tanza
fiesta is optional but if you do receive an invitation, you are welcome to bring as
many guests as you like. The principle “the more, the merrier” applies to the
Tanza fiesta.
3. Picture-taking mania. During the two-day fiesta, camera clicks are non-stop.
Pictures are taken of all events, participants, guests and hosts. Many more are
taken to have pictures that include the picture-taker.
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4. Prizes for everybody. For one of the events, the marching band competition,
there are prizes for all the groups that participated. There are major prizes for
the top three and consolation prizes for all the marching bands.
5. Pabalot . Aside from partaking in the food feast, guests are also enjoined to take
home some of the food. Hosts are very insistent in this even pushing and
pressing the wrapped goodies to a guest’s hand.
MY SPACE IS YOUR SPACE
According to the Prof. De Leon’s presentation,
In most Western cultures, guests are allowed to move around only within the confines
of the living room. In Filipino culture, guests may roam anywhere inside or outside the house,
even in the bedrooms. (Understanding the Filipino)
In the De Vega ancestral house, only the entire first floor is open to guests.
However, as a relative by association, the author has been allowed to stay in the bedrooms
and was allowed to stay there however long she wanted. Although, the author cannot verify
this for the other houses, she believes that it is safe to say that this will be the same
practice. Therefore the characteristic My space is your space is pertinent to the Tanza fiesta.
EXPRESSIVENESS: MAXIMALISM
According to the Prof. De Leon’s presentation,
The common Filipino is a maximalist, filling up every available space with forms and
things. It springs from an expressive exuberance deeply rooted in emotional sensitivity and the
strong urge to connect. (Understanding the Filipino)
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If crowdedness may be deemed as a form of maximalism, this characteristic is
exuded by the Tanza fiesta. Almost every available space on the streets is filled with
tiangges. In the houses, there were times that they were filled to bursting with guests. On
the buffet table, there was not an empty space. In almost all of the events, participants were
tightly-packed (e.g. Figure 4: Mass in the Holy Cross Church during the Fiesta . Finally, the
decoration on Saint Augustine’s statue which was overflowing with flowers was definitely
not minimalist.
RELIGIOSITY
According to the Prof. De Leon’s presentation,
Filipinos, followed by Indians and Brazilians, score highest in emphasis on religion and
religious beliefs (1979 Gallup Survey). 1991 and 1995-96 surveys confirm Filipino religiosity
as highest in the world. (Understanding the Filipino)
Obviously, the Tanza fiesta exemplifies this trait because it is by definition a
religious celebration. All the events are held in honor of the patron saint even in the most
seemingly pagan toro. Moreover, even in the commercial endeavor of tiangge, you will find
many religious articles like scapulars, rosaries and sculptures (See Figure 8: Tiangge selling
religious sculptures.
HIGHLY PARTICIPATORY
Of the seven markers of the characteristic Highly participatory mentioned by Prof.
De Leon in Understanding the Filipino, two are exemplified by the events karakol and toro.
1. In Filipino society, everybody is a participant/performer.
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2. Nobody is a mere spectator. There is no separation of performer/creator and
audience/spectator.
During the karakol, all participants dance and spectators are encouraged to join. For
the toro, there are no spectators. Everyone is a participant.
PROVIDING CHOICES
On the macro level, choices are provided in the Tanza fiesta with the events
available to guests. Aside from choosing the event, one can also choose to participate or
not, and to be an active participant or a mere spectator.
On the micro level, the food offered to guests is a literal feast. Guests are spoiled for
choice on the buffet table from the entrées to the desserts. Moreover, since food is served
buffet style, it is also up to the guests how much food to get. The only constraint is that
guests may not refuse to eat.
CREATIVE IMPROVISATION
According to the Prof. De Leon’s presentation,
Extemporaneous or on-the-spot creativity comes very naturally to the Filipino who has
the finest artistic yet improvisatory traditions such as the duplo, balagtasan, balitaw, tultul,
kulintang, kuntao and okir. Creative spontaneity is highly valued. (Understanding the
Filipino)
The karakol follows a beat for dancing but participants do not follow rigid steps.
Because of this, this event exemplifies creative improvisation.
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The giant papier-mâché figures used in the toro are not made using a pattern and
thus also embody this same characteristic. Moreover, the people moving these giant figures
do not have a set path and so have to be attentive to each others’ moves and at the same
time be careful not to hurt any participants/spectators even if aiming to surprise them.
Doing these entails creative spontaneity.
CONCLUSION
As demonstrated in this paper, the Tanza fiesta reflects the Filipino culture because
it embodies all of its eight characteristics. To summarize:
1. Love for connections, especially to people. All seven events are done
communally.
2. Togetherness is happiness. Nobody eats alone during the fiesta, guests may or
may not be expressly invited and they may bring other guests, lots of pictures are
taken to include everybody, there are prizes for all of the participants in a
competition, and pabalot is offered to all guests.
3. My space is your space. Guests are welcome to roam around the entire first floor of
the house.
4. Expressiveness: Maximalism. It is crowded everywhere. Almost all spaces are
taken in all the events. Another example is the decoration on Saint Augustine’s float
which is bedecked with flowers.
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5. Religiosity. The fiesta itself is a religious celebration. Moreover, all the events in it
are offered to the patron saint even the most non-religious parts: the toro and the
tiangges (where religious articles are sold).
6. Highly participatory. In the karakol and the toro, everyone participates and no one
is a mere spectator.
7. Providing choices. Choices are provided with the events available as well as with
the food.
8. Creative improvisation. The karakol and the toro entails creative spontaneity
because they are not rehearsed and do not follow a pattern. The same can be said
for the design of the giant papier-mâché figures because they are created on the fly
without any resort to patterns.
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TABLE OF FIGURES
Figure 1: Saint Augustine's Statue in front of the Holy Cross Church (FVelasquez) 4 Figure 2: The Holy Cross Church in Barangay Poblacion I, Tanza, Cavite (Juedral) 4 Figure 3: Tata Usteng Streamer (Alas) 5 Figure 4: Mass in the Holy Cross Church during the Fiesta (Alas) 6 Figure 5: The Karakol (MarK) 7 Figure 6: The Saint Augustine Band during the Marching Band Competition
(http://downloadfromyoutube.co/) 8 Figure 7: Tiangge selling clothing (Alas) 9 Figure 8: Tiangge selling religious sculptures (Alas) 9 Figure 9: Tiangge selling food (Alas) 10 Figure 10: Evening Procession (Ocampo) 10 Figure 11: Fireworks during the Palma (classy64jas) 11 Figure 12: Lanterns during the Palma (clumsygeek09) 12 Figure 13: The Toro (clumsygeek09) 13
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