Potes,

 Gio             Theatre  161  

2011-­‐07881             Prof.  Bryan  Viray  
 

Moroismo  in  UP  Repertory  Company’s  Production  

Of  Rogelio  Braga’s  MAS  MABIGAT  ANG  LIWANAG  SA  
KALUNGKUTAN  (2015)  
 
 
In   light   of   many   recent   issues   regarding   the   Bangsamoro   and   the   halt   of   the  
passage   of   the   Bangsamoro   Basic   Law,   the   Filipino   group   from   UP   Diliman,   the  
UP  Repertory  Company,  became  one  of  the  more  vocal  theater  groups  that  called  
for   Moro   theatrical   representation   within   this   equation.   Working   for   a   Unicef  
project,  literature  professor  and  a  strong  presence  as  a  playwright  for  the  Moro  
people  Rogelio  Braga  wrote  the  play  “Mas  Mabigat  ang  Liwanag  sa  Kalungkutan”,  
a   play   about   the   lives   of   young   Magindanaon   child   soldiers   in   the   onslaught   of  
then-­‐president  Estrada’s  All  Out  War  against  the  MILF.  Unicef  halted  the  play  in  
its  first  staging  because  of  alleged  problems  in  the  material,  and  a  certain  need  to  
“sharpen   its   focus”   (Angeles,   2015).   On   November   13,   UP   Rep   was   finally   able   to  
stage  the  play  without  Unicef  backing  the  company.    
 
Technically   a   Moro   play,   what   is   problematic   in   the   production   of   “Liwanag”   is  
the   fact   that   it   is   a   play   created   by   a   Filipino   (Braga),   performed   by   Filipino  
artists   (UP   Rep),   directed   by   a   Filipino   (Eshei   Mesina)   and   the   project   was  
initially  funded  by  a  Manila-­‐based  organization  (Unicef  Manila).  In  this  case,  how  
can  Filipinos  perform  a  Moro  play?    
 
Working  under  the  guide  of  Braga’s  framework  of  “Moroismo”,  UP  Rep  was  able  
to   deliver   neither   a   Filipino   nor   a   Moro   performance   but   in   a   certain   “third  
space”  between  these  two.  Concerned  with  the  identities  Filipino  and  Moro,  this  
paper  will  focus  on  how  the  company  utilized  Moroism,  from  its  original  use  as  a  
framework   in   literary   criticism   to   an   approach   in   theatrical   performance.   And   as  
a  part  of  the  management  team  and  also  of  the  production’s  ensemble  of  actors,  I  
will   impart   some   of   my   experiences   in   Braga’s   play   and   Mesina’s   direction   –  
particularly  on  the  usage  of  Moroismo.  
 
MOROISMO  
  “Moroismo”   or   “Moroism”   is   a   framework   conceived   by   playwright   and  
professor   Rogelio   Braga   that   refers   to   the   Moro   perspective   on   literature,  
theatre,  film,  music  and  other  cultural  texts.  Putting  into  context  the  culture  and  
politics   of   the   Bangsamoro,   Braga   critiques   Filipino   narratives   of   the  
Bangsamoro  and  pushes  forth  the  narratives  of  the  Bangsamoro  about  their  own  
life   and   culture.   For   instance,   Moroism   as   applied   in   the   analysis   of   the   song  
“Cotabato”   by   Asin   reveals   a   certain   contradiction   –   who   is   the   character  
narrating   the   story?   Why   does   he/she   use   this   language   to   tell   a   story   of   the  
Bangsamoro?   Who   is   he/she   talking   to?   In   another   light,   in   the   analysis   of   the  
Brillante   Mendoza   film   “Thy   Womb”   (a   film   about   a   Tausug   couple),   Braga   has  
this  to  say  about  Filipino  narratives  of  the  Bangsamoro:  
Sa pagtalakay ng Thy Womb sa buhay ng mga Moro sa
bahaging ito ng Tawi-Tawi, pagtalakay na ingat na ingat
na muhulog ang naratibo sa bitag, hindi malay ang
pelikula na tinatalakay na pala nito ang neo-kolonyal na
relasyon ng Pilipinas sa Bangsamoro: na ang daan na
tinatahak nating mga Filipino sa konstruksiyon ng ating
identidad, ng ating pagkatao at nasyunalismo
hinuhubad natin ang mga bagay na magpapakatao sa
atin—pag-ibig, responsibilidad sa iniibig, katapangan,
pagwaksi sa takot ng pag-iisa sa katandaan, sa
kamatayan, pananampalataya. Naalala ko bigla sa loob
ng sinehan ang sinabi sa akin noon ng isang kapatid na
Moro, “Baka kami ang inyong nakaraan na pilit niyong
tinatalikuran?” (Braga, 2012)
 
There  is  a  huge  distinction  between  Filipino  narratives  and  Moro  narratives  on  
the   Bangsamoro   and   what   Braga   proposes   is   a   certain   dialogue   between   these  
two  especially  in  the  field  of  the  arts  –  which,  he  believes,  should  liberate  and  not  
merely  just  to  entertain.  In  my  experience  of  working  with  Braga,  it  is  clear  in  his  
orientations  of  Moroism  and  the  Bangsamoro  that  he  despises  “cultural  shows”  
of  the  Filipino  on  the  Bangsamoro.  This  clearly  means  the  inaccurate  portrayal  of  
Moros   through   misguided   cultural   and   political   cues   and   too   much   reliance   on  
spectacle  that  the  point  of  the  performance  is  blurred.  Braga  claims  that  Filipinos  
usually   do   not   consider   the   Moro   perspective   and   if   Filipinos   do,   they   supply  
their   own   ideas   of   Moro   culture.   This   claim   echoes   Barbara   Gaerlan’s   study   on  
“In   the   Court   of   the   Sultan”.   Investigating   the   performance   of   the   Bayanihan  
Dance   Troupe   of   Singkil   and   other   Moro   dances,   she   considered   Edward   Said’s  
views  of  Orientalism:    
the objectifying Orientalist gaze separating "us" from
the "other" is most clear. Not only are "we" watching
"them," but "we" have magically been able to intrude
into a hitherto private space. This feat gives us the
Orientalist's great power over the material "we" are
observing. (Gaerlan, 1999)
 
Both   Braga   and   Gaerlan   actually   mention   of   a   certain   Orientalist   aspect   in  
portraying   Moros   –   as   if   the   new   Oriental   perspective   comes   not   from  
Westerners   but   from   Filipinos,   from   the   colonized   looking   down   on   the  
indigenous.   “Imperial   Manila”   is   a   popular   term   of   individuals   from   non-­‐NCR  
regions   when   tackling   how   Filipinos   consider   tribes   and   indigenous   groups   in  
the  fringes  of  the  country.  Bangsamoro  has  been  portrayed  very  minimally  in  the  
Filipino   setting.   Aside   from   singkil,   pangalay,   sagayan,   we   don’t   know   of   other  
Moro  performances.  What  is  most  popular  with  Filipinos  is  still  the  Moro-­‐Moro,  
the   komedias   of   war   between   Moros   and   Filipinos   where   Filipinos   always  
triumph.  This  situation,  I  would  argue,  is  very  much  attributed  historically  to  the  
history  of  Filipino-­‐Moro  relations.  
 
RECENT  HISTORY  OF  THE  BANGSAMORO  STRUGGLE  
  This  issue  in  culture  is  mirrored  by  the  sociopolitical  climate  between  the  
Philippines  and  the  Bangsamoro.  The  relationship  between  Filipinos  and  Moros  
in   Bangsamoro   itself   is   mired   by   conflict   because   of   military   operations   of   the  
Armed  Forces  of  the  Philippines  (AFP)  against  Bangsamoro  freedom  fighters  like  
the  Moro  National  Liberation  Front  (MNLF)  in  the  Marcos  regime  and  soon  the  
Moro   Islamic   Liberation   Front   (MILF)   in   the   period   of   the   two   Aquino  
administrations.   The   so-­‐called   Mindanao   conflict   on   arms   is   a   huge   marker   for  
Filipinos   up   until   now   since   there   are   still   more   news   on   the   war   than   on  
anything  else  about  the  Bangsamoro.    
 
  In  the  case  of  “Liwanag”,  Braga  lays  down  a  historical  account  that  most  
Maguindanaons   alive   in   2000   never   forget   –   the   All-­‐Out   War   against   the   MILF.  
Historical   land   grabbing,   a   huge   number   of   massacres   and   a   continuous   and  
increasingly   convoluted   paramilitary   and   military   presence   in   Mindanao   have  
spawned   many   Moros   to   flee   their   own   land.   Now   a   minority   in   their   own  
regions,   the   MILF   launched   continuous   efforts   to   claim   the   Bangsamoro.   They  
had  efforts  in  Kauswagan,  which  urged  then-­‐president  Joseph  Estrada  to  wage  an  
All   Out   War   that   led   to   the   bombing   of   Camp   Abubakar   in   Maguindanao   –  
claiming   the   lives   not   only   of   the   freedom   fighters   but   also   their   families   and  
loved  ones.  The  casualty  is  far  too  great,  and  what  followed  is  a  continuous  case  
of   Islamophobia   as   911   occurred   in   New   York,   which   led   to   the   Iraqi   War   and  
locally   the   intensifying   actions   of   the   Abu   Sayyaf   in   terrorizing   Christian  
Filipinos.    All  these  mentioned  occurred  only  in  the  span  of  3  years,  and  all  that  
Filipinos   see   in   Muslims   is   their   chaotic   situation,   missing   the   point   of   the  
Muslim  jihad  and  straightforwardly  branding  the  Islamic  religion  as  a  “terrorist’s  
religion”.  
 
  President   Benigno   Aquino   III’s   administration   finally   pushed   for   the  
passing   of   the   Bangsamoro   Basic   Law   (with   amendments   far,   and   completely  
different   from   the   original   draft)   –   a   law   that   would   not   only   allow   a   new  
government   to   form   in   the   Bangsamoro   after   the   deterioration   of   the  
Autonomous   Region   in   Muslim   Mindanao   (ARMM)   government   but   also   (after  
peace  negotiations  with  the  MILF)  a  surrendering  of  arms  from  the  MILF  and  the  
AFP  (OPAPP,  2014).  This  process  is  again  mired  by  two  bloody  events  –  2011’s  
Zamboanga  Siege  and  2015’s  Mamasapano  incident.  
 
  The  cultural  impact  that  these  events  ensue  is  an  unending  fear  of  Moros  
and   even   Filipino   Muslims.   Almost   all   narratives   of   the   Bangsamoro   are   not  
without   the   military   situation,   and   even   Filipino   narratives   of   the   Bangsamoro   is  
not  unlike  the  heydays  of  the  Moro-­‐Moro  where  Moros  are  portrayed  as  savage,  
barbaric  and  violent  rebels.  The  display  of  power  over  the  “triumph”  of  Filipino  
soldiers   was   supposed   to   ignite   nationalistic   fervor,   further   pushing   up   the  
status   of   Filipinos   over   the   marginalized   sectors   of   the   Philippine   sovereignty.  
Recent  issues  have  thus  halted  the  continuation  of  the  Bangsamoro  Basic  Law  
   
I   myself   have   experienced   visiting   representatives   of   the   Bureau   of   Cultural  
Heritage   in   the   ARMM   Compound,   Maguindanao   City.   When   I   opened   up   the  
topic   on   the   BBL,   they   were   quite   sad.   “Iyon   na   nga   lang   ang   pinapangarap  
namin,   pinapanalangin   namin”,   said   BCH-­‐ARMM   Chairperson   Arman   D.   Sali.   This  
reaction  is  quite  a  different  one  I  have  seen.  If  the  University  of  the  Philippines  
students  concerned  with  the  BBL  appear  agitated,  and  the  ordinary  netizens  are  
angry  over  even  the  existence  of  a  BBL,  the  Moros  seem  to  hold  on  to  any  form  of  
hope  there  is  to  allow  peace  to  take  over,  and  it  is  one  usually  unheard  of.  The  
lack   of   a   Moro   voice   in   the   dominant   Filipino   theater   and   in   Filipino   setting   itself  
necessitates  Braga’s  Moroismo.  
 
“MAS  MABIGAT  ANG  LIWANAG  SA  KALUNGKUTAN”    
AND  THEATRICAL  MOROISM  
 
  Rogelio  Braga’s  two-­‐act  play  “Mas  Mabigat  ang  Liwanag  sa  Kalungkutan”  
is   about   Maguindanaons   during   the   onslaught   of   Erap’s   “All-­‐Out   War”.   Set   in  
Cotabato   City   and   Manila,   four   teenage   boys   (Akil,   Karim,   Kamad,   Madz)   and  
three   teenage   girls   (Sarah,   Mona,   Bai)   enter   the   training   camp   in   Abubakar  
where   the   passionate   MILF   officer   Khayr   trains   them.   Outside   the   camp,   a  
concerned  public  school  teacher  Soraida  demands  her  students  while  the  war  is  
going  near.  And  in  Manila,  Akil’s  best  friend  Teng  struggles  to  fit  in  the  city  after  
his   arguments   with   the   Manilenyo   Bert.   All   these   stories   occur   as   Akil’s  
grandmother  Babo  recounts  her  early  days  in  MNLF,  and  as  Kamad  narrates  an  
age-­‐old  story  of  “Ang  Kawawang  Sultan”.  The  play  escalates  into  the  bombing  of  
Abubakar,  which  led  to  a  depressing  finale.  
 
  Under   Eshei   Mesina’s   direction,   the   play   became   a   mixture   of   theatrical  
forms   that   all   tell   different   stories   of   Maguindanaon   and   Bangsamoro   histories.  
In   the   current   setting   of   2000   lie   the   play’s   diegesis,   while   Babo’s   stories   that  
occurred   in   the   1970s   are   told   through   contemporary   dance,   and   Kamad’s  
monologues   of   prehistory   and   history   of   the   Bangsamoro   are   executed   in   a  
shadow  play.    
   Through   Mesina’s   direction   of   Braga’s   Moro   play,   it   is   already   apparent  
that  Moroism  is  needed  in  the  equation.  Mesina,  having  been  a  UP  Rep  member  
since   2004   is   no   stranger   to   the   Filipino   condition.   UP   Rep   was   declared   in   2001  
as  the  “University’s  Official  Performing  Group  for  Philippine  Theater”  thus  it  is  in  
service   of   Filipino   people.   Ever   since   UP   Rep   produced   Braga’s   Moro   plays   in  
2008,   in   2009,   in   2014   and   2015,   the   company’s   stand   for   Philippine   theater   has  
been   challenged.   Dealing   with   Moro   plays   in   a   Filipino   approach   (a   Moro   text,  
executed   with   Filipino   notions   of   the   Moro)   can   be   problematic   because   of   its  
neo-­‐Orientalist   nature.   A   Moroist   approach   balances   the   Filipino   direction   with  
the  Moro  text.  Perhaps  even  the  Filipino  and  the  Moro  distinctions  are  blurred  in  
favor  of  a  certain  “third  space”.  But  then  again,  the  question  remains:  how  does  
one  execute  a  Moroist  performance?  
 
Going  back  to  the  definition  of  Moroism,  Braga  claims  it  is  the  dialogue  between  
Filipino   and   Moro   narratives,   to   open   up   notions,   to   clear   misconceptions   and   to  
employ   a   “third   space”   that   benefits   both   Filipino   and   Moro.   On   paper,   Braga  
writes   his   plays   with   the   setting   usually   in   Bangsamoro,   and   a   Filipino   who  
questions   certain   traditions   and   practices   of   the   Bangsamoro   is   injected   in   a  
group   of   Moros.   His   text   is   very   Moroist   in   a   way   that   is   not   prominent   before   in  
Philippine  theatre.  Perhaps  Chris  Martinez’  “Our  Lady  of  Arlegui”  comes  close  to  
Braga’s  approach.  These  are  usually  dialogues  of  Filipino  and  Moro  questioning  
each  other’s  culture  –  “Ang  mga  Mananahi”  shows  a  young  Visayan  exploring  the  
traditions  of  Moro  women;  “Ang  Bayot,  Ang  Meranao  at  ang  Habal-­‐Habal  sa  Isang  
Nakababagot   na   Paghihintay   sa   Isang   Kanto   ng   Lanao   del   Norte”   is   about   a  
Filipino  homosexual  and  a  Meranao  expressing  each  other’s  woes  while  trying  to  
get   by   a   long,   hot   afternoon;   and   “So   Sanggibo   a   Ranon   na   Piyatay   o   Satiman   a  
Tadman”   is   about   a   Filipino   prostitute   and   a   Meranao   who   recount   the   days   of  
Manili   Massacre.   “Mas   Mabigat   ang   Liwanag   sa   Kalungkutan”,   on   the   other   hand,  
shows   much   more   complex   relationships   between   Moros   (Akil,   Karim,   Kamad,  
Madz,  Khayr,  Babo),  “Filipinized”  Moros  (Soraida,  Teng)  and  Filipinos  (Bert).  The  
texts  themselves  are  Moroist  in  many  ways,  and  the  performance  needs  to  catch  
up  to  this  approach.  
 
Having   been   an   actor   Braga’s   play   “Sanggibo”   before,   I   have   been   immersed   in  
his   discussions,   the   identity   politics   of   his   plays   and   also   in   discussions   with  
Maguindanaons.  I  have  witnessed  Moroism  in  performances  but  it  is  at  this  point  
when   I   played   the   role   of   Teng   that   I   was   able   to   realize   how   Moroism   can  
operate  at  least  ideologically  in  an  actor’s  performance.    
 
Incorporating   Moroism   in   theatrical   performances   has   perhaps   three   steps:   1)  
Orientation;  2)  Getting  into  the  Moro/Filipino  character;  and  3)  Getting  into  the  
“third  space”.  These  three  steps  may  have  specific  transitions  in  between,  which  I  
will  lay  down  below.  
 
It   starts   with   the   orientations   of   the   play.   UP   Rep,   as   a   socially   aware   theater  
organization  is  oriented  with  the  material  through  initial  script  reading,  project  
orientations   and   educational   discussions.   Braga,   acting   as   dramaturg,   gave   a  
lecture   on   the   History   of   the   Bangsamoro   Struggle   which   connects   to   his   notions  
on   Moroism.   He   laid   down   the   information   from   the   precolonial   era   to   the  
current  situation  in  a  very  concise,  but  informative  manner.    
 
When   the   characterization   phase   arrived,   we   first   got   very   technical   –   accents,  
costumes,  props  and  gestures.  We  had  a  Maguindanaon  accents  workshop  with  a  
member   of   Young   Moro   Professionals   Network   who   gave   tips   on   how   to   speak  
Maguindanaon,   and   also   explained   speech   patterns   and   certain   pronunciations.  
The  Maguindanaon  accent  itself  is  like  a  mix  of  Filipino-­‐Moro  –  having  the  hard  
punch  of  Meranao  while  also  having  the  softer  touch  of  the  Cebuano  accent.  The  
costumes  of  course  are  much  more  conservative  than  Christian  attires,  especially  
with   regards   to   women   –   aside   from   the   hijab,   the   long   sleeves,   pants   and   closed  
shoes  are  strictly  required,  but  the  new  age  perhaps  was  more  generous  for  the  
educated   women   like   Soraida   who   only   seldom   wears   the   hijab   and   gets   to   wear  
a   short-­‐sleeved   teacher’s   uniform.   Even   the   gestures   need   to   be   conservative   –   a  
Muslim  man  cannot  look  straight  into  the  eyes  of  a  Muslim  woman,  and  he  has  to  
control  his  gaze  not  to  look  up  so  much.  While  the  theater  never  shied  away  from  
outbursts  of  emotions  like  anger,  Moros  are  much  more  peaceful  within  and  they  
have  to  keep  restraint  in  order  to  maintain  peace  with  one’s  self.  
  
The   dances   Sagayan   and   Silong   sa   Ganding   are   incorporated   in   the   play   but  
avoiding   a   cultural   show,   Braga   only   used   them   as   rehearsals   of   the   dances,   so  
we  had  to  rehearse  the  rehearsals  of  the  dances.  The  only  purely  Maguindanaon  
art   form   present   is   the   dayunday   –   an   improvised   guitar-­‐driver   song   between  
three  individuals  who  tease  each  other  and  battle  each  other’s  wits  on  love  and  
friendship.    
 
Other  important  changes  in  rehearsal  practices  included  a  “no  shoes  and  slippers  
inside”   policy   inside   the   theater/rehearsal   venue   that   echoed   the   respect   for   a  
Meranao’s   “torogan”   and   the   Moro’s   masjid.   Also   of   course,   the   refreshments  
team   always   had   to   look   for   halal   foods   and   drinks.   The   cast   needed   to   avoid  
haram  foods,  except  Bert.  
 
It   was   in   the   latter   part   of   the   rehearsals   that   we   got   to   talk   about   character  
sketches   and   scene   studies   with   the   director   Eshei   Mesina.   The   role   of   Teng   is  
crucial  because  he  must  escalate  from  the  most  excited  and  anxious  to  the  most  
disillusioned   Moro   character;   having   been   the   first   one   eager   to   leave   Cotabato’s  
many  troublesome  issues  like  the  “rido”  and  of  course  the  ongoing  militarization,  
in  favor  of  “greener  pastures”  in  the  University  of  the  Philippines  Diliman.  
 
It   was   through   Braga’s   interjection   with   the   character   sketches   that   I  
remembered   that   Moroism   is   an   essential   element   in   the   performance.   In   this  
final   phase   with   the   shows   upcoming,   I   had   to   do   and   redo   my   approach   in  
performance.   At   first,   I   utilized   Stanislavsky’s   techniques   in   sense   memory,  
which   Mesina   noted   to   be   fine,   but   it   didn’t   have   the   punch   of   Moroism   yet.   At  
first   I   got   confused   over   the   direction   of   Mesina   and   the   interjections   of   Braga,  
but  I  realized  they  had  two  different  approaches  in  mind,  and  that  I  must  be  able  
to  combine  the  two.  And  there  I  realized  the  following:  each  line  should  always  
be  a  dialogue  with  someone  –  dialogues  with  the  other  characters  in  the  scene,  
and  the  monologues  to  myself  as  Teng.    
 
Moroism  is  an  ideological  process.  It  has  to  start  with  a  performance  technique,  
like   sense   of   memory   (especially   if   you’re   a   Filipino   performing   a   Moro)   fueled  
by  the  educational  discussions  and  immersions  with  Moros,  and  then  you  supply  
the   mindset   of   a   certain   “third   space”   between   Filipino   and   Moro.   But   I   believe   it  
transcends   Moro-­‐Filipino   relations   and   enters   any   other   situation   that   require  
dialogue   between   two   different   people,   even   towards   one’s   self   -­‐   anything   that  
requires   an   exchange   of   words   and   gestures   in   favor   of   mutual   understanding  
and  without  compromises.  
 
When   the   shows   came,   it   was   at   first   hard   to   pull   off.   But   the   point   of   Moroist  
performance   is   to   allow   the   audiences   to   see   you   speak,   to   negotiate   with   the  
other   characters   and   with   yourself   as   well   –   as   though   your   character   thinks  
while  you  perform,  and  you  think  as  you  grow,  change,  and  achieve  inner  peace  
in  Allah.  It  is  always  a  dialogue  that  it  sort  of  became  a  metaphor  for  the  “third  
space”   of   Moroism.   Moroism   perhaps   employs   the   Marxist   notion   of   thesis   +  
antithesis   =   synthesis,   but   I   believe   in   the   runtime   of   a   Moroist   performance,   the  
technique   mimics   an   unending   dialogue   between   Moros   and   Filipinos   –  
something   that   can   be   applied   even   in   other   performances   and   negotiations.   It   is  
also  quite  identical  to  how  Prof.  Anril  Tiatco  metaphorized  archipelagic  notions  
with   love   –   that   two   individuals   must   both   understand   each   other’s   needs   and  
demands   to   be   able   to   function   as   a   true   blue   partnership/archipelago   (Tiatco,  
2014).   Braga   and   Mesina’s   notions   of   negotiations   with   self   and   others   are   the  
so-­‐called   “third   space”,   and   its   relevance   to   this   digital   day   and   age   lies   in   our  
own   (or   the   majority   of   our)   incapability   to   commit   to   conversation,   dialogue  
and  negotiation.  
 
CONCLUSIONS  AND  RECOMMENDATIONS  
 
  The  benefits  of  a  Moroist  performance  is  you  immerse  yourself  well  into  
the  character  but  you  must  leave  it  with  the  call-­‐to-­‐action  still  intact  to  yourself  
as   an   individual.   It   is   not   as   if   you   execute   an   extremist’s   sense   memory  
technique,  but  you  leave  the  performance  with  the  lingering  thought  that  there  
must,   and   there   will   always   be   conversation   even   after   the   curtain   call.   You  
remain   in   the   “third   space”,   so   to   speak.   Future   scholastic   articles   need   to  
expound   on   the   “third   space”   and   be   able   to   employ   with   any   other   performance  
technique.   My  study  has  been  grounded  on  my  experiential  learning  process  of  
performing  a  Moro  in  a  Filipino  production,  and  while  that  had  benefitted  from  
Moroism,   one   tends   to   wonder   how   it   applies   to   non-­‐Filipino   or   non-­‐Moro  
performances.   If   there   shall   be   further   studies,   I   also   suggest   that   he/she   also  
immerse   him/herself   in   the   process   as   it   is   fulfilling   to   a   curious   mind   open   to  
enter  a  third  space  in  a  society  obsessed  with  binaries.  And  of  course,  both  Moros  
and  Filipinos  must  be  able  to  be  vocal  in  the  theatre,  to  be  able  to  continue  the  
dialogues   and   negotiations   that   would   lead   to   a   proper   order   in   each   other’s  
societies.  
 
My  experiences  performing  in  Braga’s  Moro  plays  became  meaningful  because  of  
this  but  moreso  when  I  got  along  with  both  Filipinos  and  Moros.  It  is  through  this  
that  I  understood  each  other’s  plight  even  more.  But  as  a  Filipino  looking  in  on  
the   Moro   experience   in   a   “third   space”,   I   believe   Braga   mentioned   it   better  
himself,  in  his  review  of  Mendoza’s  “Thy  Womb”:    
 
Kung ang Bangsamoro ang salamin na hawak ng Filipino
upang mas makilala pa niya ang kanyang sarili, isang
pambihirang pagtatangka sa katapangan ang Thy
Womb na humarap sa salamin bagaman nakapikit ang
kanyang mga mata upang sipatin ang sarili. Mas
mainam na ang ganito kaysa ang nakasanayan na na
ang siyang nakaharap sa salamin ang nagdidikta kung
paano nga ba niya dapat makita at makilala ang
kanyang sarili. (Braga, 2012)
 
The   plight   of   Filipinos   has   been   the   problem   of   colonization,   of   poverty   and  
endless   exercises   of   eliminating   undesirables.   The   current   Bangsamoro   is   a  
mirror   of   Philippine   society,   of   how   it   once   was   as   intact   and   as   passionate   for  
heroism   and   nationalism,   and   yet   as   it   grew   apart   it   has   become   more  
convoluted,  more  corrupt.  That  is  a  dramatic  way  to  put  the  situation,  but  with  
Moroism’s   case   we   may   find   a   suitable   solution   to   the   problem   of   isolation,   of  
identities  and  of  the  chaotic  nature  of  Filipino-­‐Moro  relations.  
 
 
REFERENCES  
 
*  Braga,  R.  Moroismo:  Critical  discourses  on  narratives,  nationalism  and  liberation  
   movements  and  ideologies.  Retrieved  October  12,  2015  from    
   http://moroism.org/  

Gaerlan,  B.  1999.  In  the  court  of  the  sultan:  Orientalism,  nationalism,  and  modernity  
   in  Philippine  and  Filipino-­‐American  dance.  in  The  Johns  Hopkins  University  
   Press  2.3  (pp  251-­‐287)  

The  UP  Repertory  Company  Official  Facebook  Page.  Retrieved  October  12,  2015  from
   http://facebook.com/TheUPRepertoryCompany  

 Sakili,  A.  Historical  truth  and  Bangsamoro  autonomy.  Retrieved  November  13,  2015  from
   http://opinion.inquirer.net/83325/historical-­‐truth-­‐and-­‐bangsamoro  
  -­‐autonomy  

Alim,  G  M.  The  Bangsamoro  struggle  for  self-­‐determination.  Retrieved  November  13,    
2015  from  
http://www.seasite.niu.edu/tagalog/Modules/Modules/MuslimMindanao/bang
samoro_struggle_for_self.htm    

Tiatco,  S.A.  2015.  Entablado:  Theater  and  performances  in  the  Philippines.      
  UP  Press:  Quezon  City  

Angeles,  M.  2015.  Unicef  says  Moro  play  at  UP  Rep  postponed  to  ‘  sharpen  its  focus’.  
  Retrieved  October  2,  2015  from          
  http://www.gmanetwork.com/news/story/512530/lifestyle/artandculture/
  unicef-­‐says-­‐moro-­‐play-­‐at-­‐up-­‐rep-­‐postponed-­‐to-­‐sharpen-­‐its-­‐focus