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Kularts’ approach to educating the community about Philippine tribal art, culture and performance
ONE could think it is somewhat lost art—tribal culture, that is. In this age of contemporary art, mixed media and technology, it is hard to determine one’s roots. But art, whatever form it can be, can stir up a person’s emotions—a simple painting can make us cry, a sculpture can make us think, and a performance can make us discover our heritage. Kularts believes that through this, tribal Filipino arts in the United States can be presented and preserved.
"The arts embodies the complex layers of a culture and its historical perspectives like no other," said Alleluia Panis, Kularts’ Artistic and Executive Director. "Kularts’ productions and presentations challenge the dominant and assumed construct of Pilipino culture."
Panis also explained that creating opportunities for an artist to create new works, Kularts offer a different perspective.
"To best understand who we are as people of color, as people with a colonized past—we look to indigenous traditions and practices and to the particularity of our view of history and current reality," said Panis adding that, "With this perspective, we are able to engage and allow our audience to be moved or offended by the work/performance. We hope to emotionally stir our audience and the artists to act, to think and to question."
The Kulintang Arts, Inc. or popularly known as Kularts was founded by Robert L. Henry, Marcella Pabros and Alleluia Panis in 1985 to support the work of the Kulintang Arts Ensemble (KAE), a ten-member contemporary music and dance company, whose contemporary work was rooted in Pilipino tribal arts tradition and addressing issues deeply concerning local and global communities.
However in 1995, after a decade, the KAE experienced a major crisis. Panis explained, "After ten years of performances with tours in Europe, US, Singapore and the Philippines, and creating major works annually, and, although we had some success receiving grants locally and nationally, the organization was still unable to pay living wages for its artists."
But the main focus of the organization since their founding was for their audiences to better understand their work. Hence, it was necessary for Kularts and its founders to develop a viable educational program they have used at home and on tours.
"We developed a hands-on approach to arts education program for K-12 and adults in music, dance, theater and composition," Panis said. At present, Kularts serves over 100 students each year and conducts the Tribung Kawayan Summer Arts Camp in the South of Market district of San Francisco, as well as tours to tribal communities in Mindanao. In addition, Kularts were keen on presenting and collaborating with other artists who share their vision.
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