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Scholars and cultural workers gather to discuss the future of Iliganon traditions

by Niel Arkhe P. Azcuna  | Oct 21 2025

In a spirit of celebration, artists and cultural workers gathered for Tuki-Sayod, a forum honoring Iliganon traditions and cultural legacies–the Komedya de San Miguel and Diyandi–held on September 26, 2025, as part of the month-long city fiesta in celebration of the feast of San Miguel. 

Assistant Professor Hermie Dico organized the forum through the Department of Philosophy and Humanities. The event brought together leading figures, scholars, and administrators from major institutions in the country that have significantly shaped the country’s performing arts landscape.

The forum formed part of a larger series of initiatives led by Iligan’s cultural workers and advocates, all dedicated to preserving and revitalizing the city’s traditional performances. This particular session featured discussions on the Komedya de San Miguel (popularly known as Yawa-yawa) and the Diyandi ritual, whose name now serves as the emblem of the city’s flagship festival. The conversation focused on the current state of the Komedya de San Miguel, its place within Iligan’s cultural heritage, and its relevance in the context of contemporary celebrations and festivities.

Leading the panel were Dr. Nicanor Tiongson, a foremost scholar on komedya and sarswela, former Artistic Director of the Cultural Center of the Philippines (CCP) and Professor Emeritus at the University of the Philippines Diliman; Sir Anril Tiatco, Ph.D., from the Department of Speech and Communications at UP, a pioneering performance studies scholar; Dr. Jerry Respesto, Artistic Director of Arete, the creativity and innovation hub at Ateneo de Manila University; Ms. Chinggay Jasareno-Bernardo, head of the Cultural Exchange Department at the Cultural Center of the Philippines, whose flagship program “Kaisa sa Sining” network connects 89 culture and arts organizations across the country; Dr. Marjorie Joy Almario- Magdadaro, a scholar for Diyandi; and Ms. Ana Leah Sanson, keeper and producer of Komedia de San Miguel. 

A Call to Sustain a Living Tradition

With a lead-in staging of the Komedya de San Miguel the night before, the forum opened with the expression of appreciation to the Iligan folk for its sakekeeping and continuation of the Komedya de San Miguel, which, according to Tiongson, is the only remaining Comedia de Santo of the country for the others have fallen to extinction due to a lack of effort from its locals to persist the tradition despite of the calls of modernity.

Tiongson, in fact, delivered a heartfelt speech to the audience, urging them to continue supporting the Komedya, as it offers not only a way to fulfill their annual spiritual obligation or ‘Panaad’ to Senyor San Miguel, their patron saint, but also for their edification. The Komedya recounts the celestial battle between St. Michael and Lucifer (Luzbel for the Komedya), symbolizing the conflict between good and evil. It could not make a more powerful statement, according to Tiongson, when contrasted with the greed, corruption, and moral degradation prevalent in our time. Despite being a century old, the komedya, as a traditional art form, remains relevant, especially to the new generation.

History, Tradition, and the Nation

To start the discussion, Tiongson, whose pioneering work on documenting komedya is now a primer on the tradition, recounted from history that the art form is deeply rooted in the Spanish colonial tradition and has been reinterpreted by locals using their own dialects for the verses, reflecting the aesthetics and values of the era. Believed to have been introduced here during the 1600s by early Jesuit missions as a tool to spread Christianity across the archipelago, the komedya, has proliferated throughout history and taken on various forms. The most well-known are the Moro-Moro, promoted by Spanish colonizers as propaganda targeting the Islamized population of the south, and the Comedia de Santo, which the Iligan version is associated with.

In his book Kasaysan ng Komedya, Tiongson chronicled how, over time, the komedya evolved and became more folk-oriented, even operating outside the approval of the Roman Catholic Church later on. This is evident in the case of the San Miguel Komedya, which Sanson argued has always been a folk tradition since its inception. She also recounted that the Komedya had been run exclusively by families of early settlers in the city, known as the “lumad” of Iligan. Support from the local diocese during that period depended on the priest’s favor, whether he was from Iligan or not.

Tiatco, on the other hand, would not call it “Folk Christianity” since it carries a negative connotation among the faithful. Instead, he sees it as an exploration of spirituality that recognizes the church’s organizational structure does not always hold a monopoly on it. This reminded him of his father, who was also part of their Komedya, and who had had some misunderstanding with their local priest back then, who wanted some aspect of the performance changed because it contained heretical elements. To Tiatco, it has always been a negotiation, and for the local folks, this tradition connects them intimately to their patron saint; he believes it has always been rooted in the Catholic church as an institution, which is only one way to experience that spirituality.

Sanson could not agree more since she is a Protestant herself. Many people have asked her why she is leading the Komedya now, since it is traditionally a Catholic practice. She insisted that it has been her duty as one of the inheritors of the tradition and a part of the culture she grew up with, the culture of the Iliganon. To her, this is her personal “panaad” to San Miguel, the Archangel who is also venerated by non-Catholics. Tiongson emphasized that this reflects the historical developments of our country. The changing form and purpose of the komedya align with the shifting role of the Church throughout Philippine history. He notes that during Spanish colonization, it was the Church that held true power over the state, and the komedya served as one of the tools used to spread narratives of exploitation and authority.

The moderator added that history shows that the growth of secular spaces in our society today is directly related to the diminishing power of the Church, especially over the state. Therefore, the komedya, which was once a tool for evangelization during the colonial period, has undergone an evolution—one that can be gleaned as emblematic of the historical development of our nation.

Komedya as National Theatre or Cosmopolitan Space

One overarching discourse during the forum is the prospect of komedya as an art form to embody our collective memory and be showcased as our “national theatre” form. This, for Tiongson, is possible, but the form needs some refinement to meet the demands of a modern, globalized audience. Tiongson, who is no stranger to transforming traditional performances—having gained recognition for his revival and modernization of another traditional art form, the zarzuela, with works like Philippina Circa 1907—stressed that traditions often evolve because society changes significantly. He noted that traditional performances like the komedya will have to adapt to their new audiences. He also expressed his happiness that a woman is now taking the lead in staging the Komedya de San Miguel, which, to him, is a very welcoming development.

Tiatco emphasized that the proposition of komedya as ‘national theatre’ will always be there. In fact, we should pay attention to how Koreans and Japanese have refined their traditional performances and showcase them at most of their festivals. However, for Tiatco, one key requirement is decentralizing our performance spaces along with strong policy support, especially from well-known institutions like the CCP. Bernard, who now heads the Cultural Exchange Department of CCP, a crucial component of CCP’s mission to decentralize its institution, assured that through her network of regional cultural and performing arts institutions, called Kaisa sa Sining, the Cultural Center has provided opportunities for regional performers, both traditional and contemporary, to perform on national stages. Despite the CCP’s efforts, there is still much work to be done, and it will require coordinated efforts from multiple government institutions.

Moreover, Respeto confirmed this and mentioned that they have been planning to invite traditional performances like the traditions of Paquil in Arete. He admitted that it is quite a challenge because it requires a concerted effort from both cultural institutions and the community. Citing the reluctance of the community to share their traditional practices as common, Sanson also said that in Komedya de San Miguel, there is wariness of outsiders trying to interfere with their staging. Even she was questioned about her leadership.

Tiongson reiterated that such dynamics are always present. In fact, they help keep the tradition intact. However, he urged people to be more reflective. He pointed out that some forms of the Komedya are not suitable for this new era. For example, the Moro-Moro, which is still performed in many parts of the archipelago, can cast a negative light on our Muslim brothers and sisters here in the south who are fighting for self-determination.

For Tiongson, it is necessary to begin censoring—or more accurately, reexamining—narratives that promote division and hate in order to make them more responsive to today’s inclusive and pluralistic society. He also pointed out that the Komedya de San Miguel should become more gender-inclusive, noting that the entire drama has been male-dominated since its early stages. However, he observed a positive change in the Diyandi dance, where participation has begun to include not only the younger generation but also performers of different genders. He urged the people of Iligan to preserve the Komedya not merely as an artifact of the past but as a “beacon of light” for future generations, emphasizing that the drama itself is rich with possibilities for self-transformation and moral reflection.

There was also a proposition that instead of viewing komedya as a fixed, national form, Tiatco proposed a cosmopolitan alternative. This perspective sees the art form not just as a cultural artifact but as a dynamic space of cross-cultural encounter and self-transformation.

The Diyandi Pact beyond the Forum

“We are not separated by the seas. We are integrated by the dagat,” said Tiatco when the discussions revolve around the origins of the Diyandi dance and the community that nurtured it.

The Diyandi ritual, often taken for granted because it is commonly associated with the commercial Diyandi Festival, holds special significance for the Iliganon people, according to Magdadaro, a scholar of the ritual. It is not only an essential rite that marks the opening of the San Miguel procession but also a space where the cultural identities of Iligan’s Tri-People (the Higaonon, Maranao, and Settlers) are reflected. The ritual, accordingly, embodies histories of conflict, courtship, and reconciliation, resonating with values that promote unity and an appreciation of diversity.

More than just a Thanksgiving celebration, Diyandi signifies a pact and a promise of peace, which is what the term originally means, according to Magdadaro. The performance is deeply intertwined with the history of the Iliganon people and has become one of their most cherished cultural heritages. As the moderator pointed out, this is made possible by Iligan’s strategic geographical position as an entrepôt of cultures and a frontier of historical change in the region.

There was a consensus that the Diyandi, as a symbol of unity in Iligan, should not be seen as exclusive to the Iliganon people. In fact, according to Tiatco, the Diyandi should be regarded as a site for “bridging” differences and fostering peace, something the moderator emphasized as especially vital in a region long marked by conflict.

Dr. Steven Fernandez, a member of the audience, urged everyone to be more inquisitive. “We should even question our paradigms,” he said. “Who are the Iliganons, for example—and what do we really mean when we speak of Mindanao?” he added.

Tiatco also noted that conversations like this must continue beyond the walls of the university. In this spirit, the moderator concluded that the forum itself could serve as a symbol of the Diyandi Pact, a shared commitment to dialogue, understanding, and preservation. The audience was then called upon to take part in this pact by helping sustain two of Iligan’s treasured cultural legacies: the Komedya de San Miguel and the Diyandi.

Assoc. Prof. Onnah Talle, a professor of Literary and Cultural Studies, pointed out how lucky the students were that day that they get to witness and learn from the esteemed panel and shared how this will surely leave lasting memories for them and that the entire forum reminded her of what social scientist, Doreen Massey once said about space: that “space is a pincushion of a million stories.” 

For a moment during the event, Talle said: “I truly felt those million stories being shared by our speakers—Sir Nic, Sir Anril, Sir Jerry, Ma’am Chinggay, Ma’am Anna, and Ma’am Marj. Woven together in this time and place, through the moderation of Sir Nik, these stories became not just about the Komedya, but about us here in Iligan, in the Philippines, and in the world across time.”

Tuki-Sayod is one of the many fora and workshops organized by the Philosophy and Humanities department under the Panglangkob extension program with support from the City Government of Iligan, NCCA, CCP, MSU-IIT GADC, Iligan Komedya, and Kuri-Kuri Lokal.

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