By Noel Galon de Leon
The dramatization of Graciano López Jaena’s life, as originally envisioned by Dr. Majella Caipang-Palacios, offers a compelling yet ultimately constrained glimpse into both the historical figure and the creative landscape of its time. Her staging and storytelling choices were undeniably suited to the period in which they were conceived, adhering to conventional theatrical structures and directorial sensibilities. Yet, while these techniques were engaging for past audiences, the evolution of contemporary theater, and, by extension, audience expectations, demands a more dynamic, layered reimagining. This is not merely an artistic imperative but a necessary response to the shifting sensibilities of modern spectators, whose engagement with historical narratives is shaped by heightened aesthetic and intellectual expectations. To stage López Jaena’s story today requires a balance between historical fidelity and an innovative dramaturgical approach that speaks to contemporary audiences.
At its core, theater wields an immense power to transcend mere storytelling, transforming historical narratives into visceral, lived experiences that provoke introspection and action. And yet, despite the inherent urgency of its subject matter, the recent production of Ciano: A Hiligaynon Musical falls short of this transformative potential. The performance, while commendable in its intent, reduces López Jaena’s life to a sequence of dramatized episodes, failing to engage deeply with the ideological and emotional gravitas of his legacy. What could have been a theatrical experience imbued with historical weight and political urgency instead unravels as a spectacle passively consumed, entertaining but ephemeral, its impact dissolving soon after the final curtain. It neglects the radical potential of performance as an act of historical re-imagination, as a medium not just for preserving the past but for interrogating it, for drawing resonances between López Jaena’s struggles and the socio-political realities of today.
I was invited to witness Ciano: A Hiligaynon Musical, written by the late Dr. Majella Caipang-Palacios and directed by Geofrey “Papang” Obe, both affiliated with West Visayas State University. The production’s musical arrangements, by Obe and Franz De la Cuesta, alongside the score composed by John Paul Villanueva, lend the play an auditory dimension that seeks to animate López Jaena’s life. The narrative traces his trajectory from his fearless denunciation of Spanish clergy hypocrisy in Fray Botod to his escape from colonial persecution, his exile in Spain, and his journalistic and political engagements through La Solidaridad. The play weaves together moments of personal and political turmoil, exploring his thwarted return to the Philippines and his continued advocacy for reform despite insurmountable obstacles.
Yet, while the narrative holds undeniable dramatic potential, the production suffers from a critical oversight: an insufficiently rigorous engagement with the wealth of historical material now readily available on López Jaena. If theater aspires to be a vehicle of historical inquiry, then a deeper, more exhaustive study of his life and intellectual contributions is imperative. Beyond the primary text of Fray Botod, a crucial yet often overlooked resource is Discursos y Artículos Varios, originally published in 1891 and later translated into Filipino by Francis S. Juen under the auspices of the Komisyon sa Wikang Filipino. This compilation offers unparalleled insight into López Jaena’s intellectual evolution, revealing the depth of his oratory and his incisive political commentary. A meticulous engagement with such texts could have enriched the production’s portrayal of López Jaena, allowing it to transcend biographical reconstruction and instead situate him within the larger ideological battles of his time.
Graciano López Jaena occupies a distinct and complex position in Philippine intellectual history, shaped by his prodigious oratory, incisive journalism, and relentless advocacy for reform. Though undeniably brilliant, he was also a figure of paradox: described by contemporaries as disheveled and unkempt, his oratorical genius stood in stark contrast to his personal disorder. His spontaneous and impassioned speeches stirred audiences with an eloquence few could rival, Sergio Osmeña and Manuel Quezon among them. Even José Rizal, upon arriving in Spain in 1882, found that López Jaena had already established himself as a formidable voice in the reformist movement, alongside Marcelo H. del Pilar. Though their backgrounds diverged, Rizal from Calamba, del Pilar from Bulacan, and López Jaena from Iloilo, their intellectual and political trajectories converged in Spain, where they collectively propelled the Philippine reform movement forward. Governor-General Ramón Blanco once characterized the three reformists in distinct terms: López Jaena, fiery and impassioned; Rizal, methodical and intellectual; del Pilar, pragmatic and politically shrewd. While Rizal remains the most canonized figure among them, López Jaena’s rhetorical brilliance and del Pilar’s strategic acumen were indispensable to the cause.
Beyond his spoken word, López Jaena was also a fierce polemicist, wielding journalism as a weapon against colonial oppression. Unlike Rizal, who often pursued diplomacy, López Jaena embraced a more confrontational style, unflinchingly exposing the injustices of Spanish rule. His tenure as a journalist saw him contribute to influential periodicals such as Los Dos Mundos and El Progreso, dismantling racist portrayals of Filipinos and advocating for educational and municipal reforms. Though his writings, particularly Fray Botod, Entre Kastila y Filipina, and Todo es “Hambug”! were sometimes dismissed for their lack of literary finesse, they remain invaluable for their scathing political satire and unapologetic critique of the Spanish clergy. His most powerful speeches, though often improvised and rarely transcribed in full, captured the urgency of his advocacy. His 1887 address in Madrid, denouncing the mistreatment of Filipino laborers, was met with resounding applause, its impact enduring despite his refusal to temper his rhetoric. Rizal, ever the strategist, urged López Jaena to refine his arguments, yet his natural political instincts and ability to mobilize public sentiment had already cemented his influence.
A defining moment in López Jaena’s life was his principled defiance in Pototan, Iloilo, where he refused to falsify death certificates for political expediency. This act of resistance placed his life in danger, forcing him to flee to Spain, where he continued his activism. In 1889, he founded La Solidaridad, which became the primary mouthpiece of the Propaganda Movement. However, his tenure as its editor was short-lived, reflecting both personal struggles and internal discord within the movement. His years in exile were fraught with political turbulence, personal losses, and fleeting romances, none of which culminated in marriage. His attempt to return to the Philippines was thwarted by colonial authorities, compelling him into a dramatic escape disguised as a Chinese laborer. Under constant threat, he remained in Spain, pursuing legal studies while persistently advocating for Philippine representation in the Spanish Cortes.
Despite his untimely death in Barcelona in 1896, López Jaena’s legacy endures, albeit often overshadowed by Rizal’s martyrdom and del Pilar’s political machinations. Yet, his contributions to Philippine reformist discourse remain vital, his speeches and writings bearing testament to the power of language in shaping national consciousness. His story, his triumphs, contradictions, and indomitable resolve, deserves not merely to be staged but to be critically interrogated, its political and cultural implications explored with the depth and urgency they demand.
If Ciano: A Hiligaynon Musical truly seeks to honor its subject, it must go beyond mere historical reenactment and harness the transformative power of theater as a space for historical interrogation and political discourse. The production must recognize the stage not just as a platform for retelling the past but as a medium for recontextualizing Graciano López Jaena’s significance in the present sociopolitical landscape. To squander such an opportunity due to inadequate planning would be a disservice to both the material and its audience. Every aspect of the production, from refining the script and narrative to resonate with contemporary viewers, to ensuring meticulous blocking and direction under the director’s vision, must be thoughtfully executed. Acting and performance must go beyond technical proficiency; it must be compelling, truthful, and immersive. Stage design and props should enhance rather than merely decorate, Costume and makeup must be historically and symbolically resonant, while lighting and sound should heighten the production’s emotional and thematic layers. Likewise, music and choreography must be seamlessly integrated to reinforce the narrative. The overall production quality hinges on the synthesis of these elements, all of which demand the production team’s keen attention to detail. Only through this rigorous and deliberate approach can Ciano fulfill its potential, not just as a tribute to López Jaena, but as a vital artistic intervention that makes his legacy felt in the here and now.
***
Noel Galon de Leon is a writer and educator at University of the Philippines Visayas, where he teaches in both the Division of Professional Education and U.P. High School in Iloilo. He serves as an Executive Council Member of the National Commission for Culture and the Arts-National Committee on Literary Arts.
