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A PPY Memoir
A PPY Memoir
In October 2003, I had the extraordinary opportunity to become part of Bidlisiw, the name of the Philippine Participating Youth to the 30th SSEAYP. Along with almost 300 other delegates aboard the Nippon Maru, we sailed across the azure waters connecting ASEAN countries and Japan. This journey was more than just a voyage across seas; it was an odyssey into the heart of cultural unity and understanding. Among the many activities that celebrated our diverse heritage is the National Day Presentation (NDP) of each participating country. For the PPYs, our performance of traditional Filipino songs and dances during our NDP -- including the Tinikling, Malong, and Singkil -- stood out as a vivid tapestry of symbolism and cultural pride.
I can still vividly remember our presentation that evening. The air inside the venue buzzed with a mix of excitement and nervous energy. The Dolphin Theater, which would serve as our stage, began to feel like a bridge between the past and the present batches of PPYs who performed there as well, linking us through shared stories and dances. Each step, each movement we practiced, was imbued with the weight of history and the joy of cultural expression.
The Tinikling dance, often regarded as the national dance of the Philippines, was one of the highlights of our presentation. With bamboo poles clacking rhythmically against the floor, the dancers moved swiftly and gracefully between them, mirroring the tikling birds that nimbly dodge traps set by farmers. This dance symbolized more than just agility; it embodied the resilience and adaptability of the Filipino people. The other delegates/PYs watched in awe. The dance, with its intricate footwork and dynamic energy, was a testament to overcoming obstacles and navigating challenges with grace. It was a powerful reminder of our collective strength and the ability to thrive amidst adversity.
Meanwhile, the male PPYs showcased the Malong dance, where the vibrant and versatile tubular cloth, the malong, took center stage. This dance highlighted the malong’s myriad uses—from a garment to a sunshade, alampay (sash), and even as a head gear. Each dancer wore the malong differently, reflecting the rich cultural tapestry of Mindanao and the Maranao people.
The Malong dance symbolized unity in diversity. Just as the malong can be transformed into various forms, so can our perspectives and approaches to life. As we swirled and twirled with our malongs, we demonstrated how embracing our unique identities and traditions could bring us closer together. The delegates, many of whom had never seen the malong before, marveled at its versatility and the profound message it conveyed about cultural harmony.
30th SSEAYP with National Leader Venus Gualdaquever, Youth Leader Victor Cuarto, and Assistant Youth Leader Lina Tuazon.
Finally, our grandest and most ambitious performance was the Singkil, a dance that narrates the ancient epic tale of “Darangen,” the Maranao version of the Ramayana. This dance involved intricate steps between crisscrossed bamboo poles, accompanied by the rhythmic beating of agongs and kulintang music. The lead dancer, portraying Princess Gandingan, moved with poise and elegance, evoking the nobility and grace of royal Maranao lineage.
Singkil was not just a performance but a story of love, bravery, and cultural pride. The dance’s complexity and the precision required symbolized the intricate balance of maintaining cultural heritage while embracing modernity. As the bamboo poles clashed and the music crescendoed, the delegates were transported to a realm where history and legend intertwined.
Performing these traditional dances aboard the Nippon Maru was more than a showcase of our cultural heritage; it was a dialogue between nations, a dance of diplomacy. Each step we took, each movement we made, was a bridge connecting us to our ASEAN neighbors and Japanese friends. Through these dances, we shared the essence of what it means to be Filipino—resilient, adaptable, united in diversity, and proud of our rich cultural history.
As the ship sailed across the serene seas, we carried with us the spirit of collaboration and mutual respect. The Nippon Maru was not just a vessel; it was a floating testament to the power of cultural exchange and the enduring bonds of friendship that can be forged through understanding and appreciation of our unique traditions.
In the end, the dances we performed were more than just entertainment. They were symbolic acts of unity, resilience, and grace, weaving a narrative that resonated with every delegate onboard. Our cultural expressions through Tinikling, Malong, and Singkil became the language of our shared journey, a journey that celebrated the beauty of our differences and the strength of our unity.
Marlon Miguel
SSEAYP 2003
BATCH GALLERY
Together with more than 300 youth leaders, Bidlisiw, the 2003 SSEAYP Philippine participating youths, sailed around Southeast Asia and Japan aboard a ship named Nippon Maru (literally "Japanese circle"). For more than a month, we lived in the spirit of cultural exchange and camaraderie amid our differences. As young leaders, we were welcomed in every port of call like ambassadors, earning an audience with prominent leaders like then Indonesian President Megawati Sukarnoputri, and with Emperor Akihito with wife Empress Michiko.
A day before we left the ship (which also signalled Nippon Maru's last sail for the program after decades of service), we wrote this letter on behalf of all participating youths.
Jay Malaga
SSEAYP 2003
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