The Ten Mats of Sintang Dalisay; or, How Romeo and Juliet Became Rashiddin and Jamila

Based on Romeo and Juliet and a 1901 awit adaptation of Shakespeare’s play, the theater production Sintang Dalisay deploys, as its movement motif, the igal, a dance tradition of the Sama Bajau of the southern Philippines. The use of the motif influences other elements in the production, specifically...

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Main Author: Abad, Ricardo G.
Format: text
Published: Archīum Ateneo 2020
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Online Access:https://archium.ateneo.edu/paha/vol10/iss1/2
https://archium.ateneo.edu/context/paha/article/1078/viewcontent/PAHA_2010.1_202_20Preface_20__20Abad.pdf
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Institution: Ateneo De Manila University
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spelling ph-ateneo-arc.paha-10782024-10-05T03:06:02Z The Ten Mats of Sintang Dalisay; or, How Romeo and Juliet Became Rashiddin and Jamila Abad, Ricardo G. Based on Romeo and Juliet and a 1901 awit adaptation of Shakespeare’s play, the theater production Sintang Dalisay deploys, as its movement motif, the igal, a dance tradition of the Sama Bajau of the southern Philippines. The use of the motif influences other elements in the production, specifically, the music, the decision to set the play in a Muslim community, the set and costume designs, and the change of the characters’ names into more local appellations. The localized production adopts a collaborative intercultural approach to theater-making, with Muslim and Christian artists working together to teach the dance to performers, help reconfigure the dance for the contemporary stage, and align that reconfiguration with community practice. This paper reviews the production, assesses its reception on etic and emic levels, and contextualizes the project in terms of Muslim–Christian relations in the Philippines. It finds that the task of localizing Shakespeare as folk performance must contend, onstage, with issues of cultural and political representation and, most importantly, offstage, with ethical issues that underlie collaborative intercultural theater. The offstage component makes the production a vehicle to advance a vision of mutual solidarity between Muslims and Christians. 2020-01-01T08:00:00Z text application/pdf https://archium.ateneo.edu/paha/vol10/iss1/2 https://archium.ateneo.edu/context/paha/article/1078/viewcontent/PAHA_2010.1_202_20Preface_20__20Abad.pdf Perspectives in the Arts and Humanities Asia Archīum Ateneo Intercultural theater collaborative intercultural theater intercultural Shakespeare Asian Shakespeare Philippine Shakespeare igal Sama Bajau Muslim–Christian relations
institution Ateneo De Manila University
building Ateneo De Manila University Library
continent Asia
country Philippines
Philippines
content_provider Ateneo De Manila University Library
collection archium.Ateneo Institutional Repository
topic Intercultural theater
collaborative intercultural theater
intercultural Shakespeare
Asian Shakespeare
Philippine Shakespeare
igal
Sama Bajau
Muslim–Christian relations
spellingShingle Intercultural theater
collaborative intercultural theater
intercultural Shakespeare
Asian Shakespeare
Philippine Shakespeare
igal
Sama Bajau
Muslim–Christian relations
Abad, Ricardo G.
The Ten Mats of Sintang Dalisay; or, How Romeo and Juliet Became Rashiddin and Jamila
description Based on Romeo and Juliet and a 1901 awit adaptation of Shakespeare’s play, the theater production Sintang Dalisay deploys, as its movement motif, the igal, a dance tradition of the Sama Bajau of the southern Philippines. The use of the motif influences other elements in the production, specifically, the music, the decision to set the play in a Muslim community, the set and costume designs, and the change of the characters’ names into more local appellations. The localized production adopts a collaborative intercultural approach to theater-making, with Muslim and Christian artists working together to teach the dance to performers, help reconfigure the dance for the contemporary stage, and align that reconfiguration with community practice. This paper reviews the production, assesses its reception on etic and emic levels, and contextualizes the project in terms of Muslim–Christian relations in the Philippines. It finds that the task of localizing Shakespeare as folk performance must contend, onstage, with issues of cultural and political representation and, most importantly, offstage, with ethical issues that underlie collaborative intercultural theater. The offstage component makes the production a vehicle to advance a vision of mutual solidarity between Muslims and Christians.
format text
author Abad, Ricardo G.
author_facet Abad, Ricardo G.
author_sort Abad, Ricardo G.
title The Ten Mats of Sintang Dalisay; or, How Romeo and Juliet Became Rashiddin and Jamila
title_short The Ten Mats of Sintang Dalisay; or, How Romeo and Juliet Became Rashiddin and Jamila
title_full The Ten Mats of Sintang Dalisay; or, How Romeo and Juliet Became Rashiddin and Jamila
title_fullStr The Ten Mats of Sintang Dalisay; or, How Romeo and Juliet Became Rashiddin and Jamila
title_full_unstemmed The Ten Mats of Sintang Dalisay; or, How Romeo and Juliet Became Rashiddin and Jamila
title_sort ten mats of sintang dalisay; or, how romeo and juliet became rashiddin and jamila
publisher Archīum Ateneo
publishDate 2020
url https://archium.ateneo.edu/paha/vol10/iss1/2
https://archium.ateneo.edu/context/paha/article/1078/viewcontent/PAHA_2010.1_202_20Preface_20__20Abad.pdf
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