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July 22, 2008

Ambon, Ulan, Baha Show in Davao

Artists Resource Network Association, Inc. (ARNAI)
in cooperation with ABS CBN Foundation


By: Frank G. Rivera ( a multi awarded playwright)
2004 Aliw Awardee for Best Musical Play

August 17, 2008 / 10AM & 5PM
Holy Cross of Davao, College Gym
Sta. Ana Ave., Davao City

Tommy Abuel
Tado Jimenez
Theater Actors/Actresses of ARNAI

Directed By:
Niña V. Manalo

What ARNAI is really all about …….

Artists Resource Network Association Inc. (formerly ACTION or Activating Communities Towards Inter cultural Orchestration Network) was founded by Theater Artist Frank G. Rivera in 1978 during his stint with the celebrated MSU-Sining Kambayoka in Mindanao. Its acronym and accompanying meaning mirror the organization's vision of a True Filipino National Theater by interacting communities of diversified cultures.

Actually trailblazing the inclusion of folk, ethnic and regional theaters into the mainstream and national consciousness, Artists Resource Network unheraldedly pioneered the unification of various regional theater groups into a major national force, as in now done jointly by the Cultural Center of the Philippines (CCP)and National Commission on Culture and the Arts (NCCA)

Through the years the group has silently and slowly generated participation from the regional theater groups and individuals in the country by involving and enjoining then to move into action promoting distinctly Filipino cultural arts that is the only guide for national upliftment and advancement as people

Guided with a two-fold mission of mounting highly artistic productions that would counter the consciousness of the people, Artists Resource Network has produced remarkable plays like Oyayi, Soledad, Ama at Iba Pa and Mga Tagpi-tagping Tupa ng Diyos, Ambon, Ulan, Baha, Mga Awit ng Buhay and Hope for the Flowers

To date the group has been sponsored by several organizations, institutions, local and national government units and has performed regularly for different schools and universities in Metro Manila and in mobile proctions in places like Laguna, Batangas, Cavite, Bulacan, Davao and Puerto Princesa palawan.

ARNAI is a partner of the National Commission on Culture and the Arts (NCCA) in realizing the cultural component in the Medium Term Philippine Development Plan 2004-2010

Currently based in Taguig City, ARNAI conducts seminar-workshops on Integrated Arts of Theater, Music , Dance, Visual Arts, Creative Writing, and Value-Oriented Issues such as Environmental Preservation for school and communities. It was the implementor of the NCCA-KALAHI Joint Project, " Cultural Services for the Poor 2005" for 12 priority provinces of Luzon

July 16, 2008

The Musical Play - Ambon, Ulan, Baha

“AMBON ULAN BAHA” is a two-hour ethno-rock modern zarzuela that showcases twenty original musical scores inspired by kundiman, balitaw, ethnic and modern musical trends with choreography based on ethnic, folk/traditional and creative dances.

An original production of the celebrated Mindanao State University –Sining Kambayoka ( founded by Theater Artist Frank G. Rivera ) in 1978, “ Ambom…” was remounted by Teatro Metropolitano through NCCA Grant in 1992, also at the helm of Rivera.
This long –time running musicale which predicted the Ormoc tragedy in 1991, highlights environmental concerns and focuses on the preservation of Philippine forests. It also deals heavily on Filipino values, the importance of education, religion, family and youth. It also carries relevant commentaries on socio-economic and political issues of the times. It aims to educate its audiences especially the youth about issues of urgent and national importance.

To – date, Aritsts Resource Network Association, Inc. (ARNAI)’s “ Ambon, Ulan, Baha” has been sponsored by several organizations and institutions and has seen more than 500 performances. 

The zarzuela’s success in depicting the Filipino lives after almost three decades after it was first staged, proved its timelessness and its relevance to the evolutions of Philippine Theater.
Its music, inspired by folk/traditional songs like balitaw and kundiman, formerly considered provincial “ bakya “ , and unsophisticated as compared to “mainstream” of legitimate theater, proved to be good venue for improvisation and fusion, thus exploring and experimenting for new forms.

Its dances: a fusion of folk/traditional, modern and creative movements showcase creative interpretation of the play’s songs and scene.

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