The Philippine Online Chronicles

There's nothing quite like your first time... to vote, that is. When it comes to the proper exercise of the right of sugffrage, education is key... not just to ensure one votes wisely, but, in many cases, to ensure one votes at all.

Si Juan Tamad, ang Diyablo, at ang Limang Milyong Boto is on a second run, having been first launched in the run-up to the close of the voters' registration roll back in October. While Vince de Jesus's story was originally meant for that period, I noticed that the play has been updated slightly to reflect more recent developments, such as the adoption of the final form of the automated election system. The play is done in the style of a vaudeville musical, and as with all Philippine Educational Theater Association (PETA) plays, it is very much a “message” play promoting a very explicit--and, occasionally, preachy--message of socio-civic political involvement.

First, about the play itself, the script was laced with biting humor, and had a very interesting way of satirizing and depicting the socio-political scene in our country. The play does so by using the classic device of disguising the country by situating the play onthe imaginary island of Isla Filiminimon, leaving it to the audience to recognize the equivalent real-life people, places and situations.

As for the characters, I found the role of the devil to be an anti-heroic figure, and he was specifically crafted to represent the status quo―one which, if the viewer did not already get it, was something to be despised. Robert Seña played his part with aplomb, challenging the play’s characters (and the audience) when the status quo was being subverted, and ending, defeated, with a challenge to the audience to continue the story of Juan and the nation.

I was, however, disappointed with the actor who portrayed Juan Tamad that night. While I found his enthusiasm--or, rather, his lack of it--convincing, I was turned off by the fact that he flubbed his lines about three times, including during the action-packed second act where Juan moves from Tamad (lazy) to Tama (right). I was also noticed an unusually long bit of dead time in Act I, where the play ground to a halt even with background music playing. I wondered whether the long break between the first and second runs affected the quality of the performance.

Yet as I said, this is a "message" play, and the message here is an important one. What PETA has done, and for which I commend them, is to identify the problem of apathy. It is not just about encouraging first time voters to vote, but convincing people to be involved in their communities, to have initiative when government fails to deliver (this ties into/contrasts with another concept, that of subsidiarity, which means that communities must be given the capacity to run their own affairs, and only when they cannot, can a higher level of government assist them in doing so). They must be willing to hold their leaders accountable for their promises and the fulfilment of their obligations. This kind of engagement means that, beyond elections, and regardless of the outcome, people must be prepared to help their country and community.

Having participated in voter's awareness programs of the NGO to which I belong, I believe, as does PETA, that political engagement is really about being in it for the long haul. It also means building a sense of solidarity with others--whatever their religion, gender, or social status--a monumental task. The final song of the play suggests that individual actions can cumulatively build change, and solidarity is also an important theme. Getting rid of political apathy demands no less; one must have a sense that their action, inactivity, and attitudes does affect everyone else. The key to enabling a government based upon this principle is not only an informed citizenry, but one that is willing to take responsible action when needed for the wider community.

Changing our culture, however, requires more than just provocative thought—it requires time too. While the tone of the play is optimistic, it makes a point to show that change never happens overnight, and I think PETA recognizes that the problem has deep roots. I do, however, believe that PETA (and other organizations) should seriously reconsider the emphasis on the mantra of our “flawed culture”; yes, Filipinos have a culture built upon relationships--yet, this can be a positive thing, when viewed as a relationship of mutual responsibility. The whole notion of “bayanihan” betrays something which is alien to a political framework that focuses on liberalism and the individual. We cannot but be involved in our communities; we cannot be but dependent on each other, and that's not necessarily a bad thing. If we develop the positive aspects of our culture, political apathy should become an alien concept.

With luck, the seed of this hopeful, cheery message of political engagement--delivered in an attractive, entertaining package--will not fall upon barren ground.

Juan Tamad is onstage at the PETA-Phinma Theater on Fridays, Saturdays and Sundays from February 5 until March 7, 2010. The PETA Theater Center is located at #5 Eymard Drive, New Manila, Quezon City. Tickets are at P300 each. For details and other inquiries, call the PETA Marketing and Public Relations Office at 725-6244, 410-0821 or mobile number 0917-8044428.

(Image source: Gibbs Cadiz)

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