28/05/2026
๐๐ก๐ ๐๐ซ๐ญ ๐จ๐ ๐๐ฎ๐ง๐ซ๐๐ค๐ฎ ๐๐๐ซ๐๐จ๐ซ๐ฆ๐๐ ๐๐ฒ ๐๐ ๐๐๐ ๐๐ญ๐ฎ๐๐๐ง๐ญ๐ฌ ๐ญ
On Monday, May 25, 2026, undergraduate students of ๐๐ฆ ๐ญ๐ต๐ณ: ๐๐ฎ๐ฝ๐ฎ๐ป๐ฒ๐๐ฒ ๐ง๐ฟ๐ฎ๐ฑ๐ถ๐๐ถ๐ผ๐ป๐ฎ๐น ๐ฃ๐ฒ๐ฟ๐ณ๐ผ๐ฟ๐บ๐ฎ๐ป๐ฐ๐ฒ ๐ฃ๐ฟ๐ฎ๐ฐ๐๐ถ๐ฐ๐ฒ presented their culminating performance for the Second Semester AY 2025โ2026 titled โ๐๐ญ๐ฅ๐๐ง๐๐๐ฃ๐๐ ๐ฉ๐๐ ๐ผ๐ง๐ฉ ๐ค๐ ๐ฝ๐ช๐ฃ๐ง๐๐ ๐ช.โ The showcase highlighted the discipline, coordination, and artistry of Bunraku, Japanโs traditional puppet theater, in which three ๐ฏ๐ช๐ฏ๐จ๐บ๐ฐ ๐ต๐ด๐ถ๐ฌ๐ข๐ช or puppeteers โ the head and right-hand puppeteer, left-hand puppeteer, and foot puppeteer โ move in complete synchronization to bring a single puppet to life.
The performance was attended by distinguished guests led by former UP College of Arts and Letters Dean and UP Department of Speech Communication and Theater Arts (DSCTA) faculty Prof. Amihan Ramolete, a pioneering member of the UPCIS Bunraku Ensemble in 2013, who came together with performing arts student interns from Bulacan State University. Also present was Khen del Prado, an alumnus of the BA Philippine Studies program and a member of the Bunraku Ensemble since 2018, as well as UP alumni Stella Herras Lundqvist and Elvira Lorenzo. Joining them in the audience were UPCIS Korean Dance lecturer Ms. Jo Jangeun, UPCIS Director Ramon Guillermo, former UPCIS Director Cynthia Neri Zayas, and the parents, siblings, and friends of the GS 197 students.
The program featured three performances:
๐ ๐๐๐๐จ๐ช ๐๐๐ (๐๐๐ ๐ฟ๐๐ฃ๐๐ ๐ค๐ ๐๐๐๐จ๐ช) โ a lively opening piece dedicated to the god of prosperity and fishermen. It featured puppeteers: ๐ฅ๐ฎ๐๐ฒ๐น ๐ฉ๐ถ๐ป๐ฐ๐ฒ๐ป๐ ๐๐ฎ๐ฟ๐๐ผ๐น๐ผ๐บ๐ฒ (Head and Right Hand Puppeteer), ๐๐ป๐ท๐ผ๐ฟ๐๐ถ๐ป ๐๐ฒ๐ฒ๐๐ต๐ถ๐ฎ ๐๐ฎ๐ผ๐ถ๐น๐ฒ (Left Hand Puppeteer), and ๐๐๐ฑ๐ถ๐ฎ ๐ฉ๐ถ๐๐๐ผ๐ฟ๐ถ๐ฎ ๐๐ฎ๐ฏ๐ฎ๐ป๐น๐ถ๐ด (Foot Puppeteer), accompanied by five ๐ต๐ข๐บ๐ถฬ or chanters โ ๐๐ถ๐ผ๐ป๐ป๐ฎ ๐ ๐ฎ๐ฒ ๐๐ป๐ฑ๐ฟ๐ฎ๐ฑ๐ฎ, ๐๐๐น๐ฒ ๐๐ฟ๐ถ๐ ๐๐ฎ๐ฐ๐ถ๐ฎ๐, ๐๐ฎ๐ป๐ฐ๐ฒ ๐ฅ๐ฎ๐ณ๐ฎ๐ฒ๐น ๐๐๐ฝ๐ถ๐ฟ๐ถ๐๐, ๐๐ผ๐ฎ๐ป๐ป๐ฎ ๐๐ป๐๐ผ๐ป๐ฒ๐๐๐ฒ ๐ ๐ฎ๐ฟ๐ฎ๐ฏ๐๐, and ๐๐ผ๐ฎ๐พ๐๐ถ๐ป ๐ฉ๐ฎ๐น๐ผ๐๐ฟ ๐ฉ๐ถ๐น๐น๐ฎ๐ฟ๐๐ฎ โ who performed the original chant in Japanese despite many of them having no prior background in the language. Assisting the performance were stage hands ๐๐ฒ๐ฎ๐ป๐ฒ๐น๐น๐ฎ ๐๐ฎ๐๐ฒ ๐๐ฟ๐ฎ๐ฐ๐ฒ ๐๐ฎ๐๐ฏ๐ฎ๐ and ๐ก๐ถ๐ธ๐ผ๐น๐ฎ๐ ๐๐ต๐ฟ๐ถ๐๐๐ถ๐ฎ๐ป ๐ฆ๐ฒ๐ฏ๐ฎ๐๐๐ถ๐ฎ๐ป ๐๐ฎ๐ฐ๐๐ผ๐ป.
โ ๐๐๐-๐๐๐๐ ๐จ๐ ๐๐๐ฃ๐ช๐๐ช๐๐ฃ๐ ๐๐ช๐ฅ๐ โ a restaging of the 2016 UPCIS Bunraku adaptation of the poem and song by Andres Bonifacio portraying the enduring love and shared struggle of Bonifacio and his wife, Gregoria de Jesus. The Gregoria de Jesus Puppet team was composed of ๐๐๐น๐ฒ ๐๐ฟ๐ถ๐ ๐๐ฎ๐ฐ๐ถ๐ฎ๐ (Head and Right Hand Puppeteer), ๐ก๐ถ๐ธ๐ผ๐น๐ฎ๐ ๐๐ต๐ฟ๐ถ๐๐๐ถ๐ฎ๐ป ๐ฆ๐ฒ๐ฏ๐ฎ๐๐๐ถ๐ฎ๐ป ๐๐ฎ๐ฐ๐๐ผ๐ป (Left Hand Puppeteer), and ๐๐๐ฑ๐ถ๐ฎ ๐ฉ๐ถ๐๐๐ผ๐ฟ๐ถ๐ฎ ๐๐ฎ๐ฏ๐ฎ๐ป๐น๐ถ๐ด (Foot Puppeteer), while the Andres Bonifacio Puppet team consisted of of ๐๐ฎ๐ป๐ฐ๐ฒ ๐ฅ๐ฎ๐ณ๐ฎ๐ฒ๐น ๐๐๐ฝ๐ถ๐ฟ๐ถ๐๐ (Head and Right Hand Puppeteer), ๐๐ฒ๐ฎ๐ป๐ฒ๐น๐น๐ฎ ๐๐ฎ๐๐ฒ ๐๐ฟ๐ฎ๐ฐ๐ฒ ๐๐ฎ๐๐ฏ๐ฎ๐ (Left Hand Puppeteer), and ๐ง๐ถ๐ณ๐ณ๐ฎ๐ป๐ ๐๐ฟ๐๐(Foot Puppeteer).
๐ถ Ugoy ng Duyan - a 2025 Bunraku adaptation inspired by the lullaby composed by National Artist Lucio San Pedro but critically reinterpreted in response to a concept suggested by Prof. Zayas. The Mother puppet team included ๐๐ผ๐ฎ๐พ๐๐ถ๐ป ๐ฉ๐ฎ๐น๐ผ๐๐ฟ ๐ฉ๐ถ๐น๐น๐ฎ๐ฟ๐๐ฎ (Head and Right Hand Puppeteer), ๐๐ฒ๐ฎ๐๐ฟ๐ถ๐ฐ๐ฒ ๐๐น๐น๐๐ป๐ป๐ฒ ๐๐ฎ๐ฏ๐ฎ๐น๐ฒ๐ (Left Hand Puppeteer), and ๐๐ถ๐ผ๐ป๐ป๐ฎ ๐ ๐ฎ๐ฒ ๐๐ป๐ฑ๐ฟ๐ฎ๐ฑ๐ฎ (Foot Puppeteer), while the Son puppet team featured ๐ฅ๐ฎ๐๐ฒ๐น ๐ฉ๐ถ๐ป๐ฐ๐ฒ๐ป๐ ๐๐ฎ๐ฟ๐๐ผ๐น๐ผ๐บ๐ฒ (Head and Right Hand Puppeteer), ๐๐ป๐ท๐ผ๐ฟ๐๐ถ๐ป ๐๐ฒ๐ฒ๐๐ต๐ถ๐ฎ ๐๐ฎ๐ผ๐ถ๐น๐ฒ (Left Hand Puppeteer), and ๐๐ผ๐ฎ๐ป๐ป๐ฎ ๐๐ป๐๐ผ๐ป๐ฒ๐๐๐ฒ ๐ ๐ฎ๐ฟ๐ฎ๐ฏ๐๐ (Foot Puppeteer).
UPCIS acknowledges with gratitude its artistic collaborators. For Pag-ibig sa Tinubuang Lupa, the puppet dance featured music by Restie Umali interpreted by coloratura soprano Luz Morete, accompanied on the piano by concert pianist and current director of the Philippine High School for the Arts (PHSA), Greg Zuniega. Featuring costumes by Darwin Desoacido, a theater arts alumnus and member of the Bunraku Ensemble since 2014, the Bunraku pas de deux was brought to life through the choreography of Joanne Koโde la Calzada, an alumna of the PHSA, the UP College of Music Dance Program, and Ballet Philippines.
For Ugoy ng Duyan, UPCIS also extends its gratitude to Kim Quinola of the College of Home Economicsโ Department of Clothing, Textiles and Interior Design for the costumes; Rowena Bayon, a PHSA and UP alumna for the props; Jethro Joaquin, former faculty member of DSCTA for the sound design; and Edith Gordoncillo โ an alumna of PHSA, Ballet Philippines, and Philippine Educational Theater Association (PETA) for the choreography.
Congratulations to our students, mentors, artistic collaborators and production team for a successful performance celebrating intercultural engagement, creativity, and rigorous performance practice.
ใฉใใใใใใจใใใใใพใใใ