The Cultural Center of the Philippines (CCP) promotes traditional cultures and explores the beauty of dance and power of film in another milestone project, “Tara, Laro Ta(y)o,” which features six films of dances highlighting the joyous spirit of traditional games, hoping that young generations will learn about and appreciate.

Interpreted in dance and captured on film are selected traditional games of different cultural communities and ethnic groups in Luzon, Visayas and Mindanao — mali of the Dumagat of Bulacan; koirdas di la bordon of the Cuyunon of Cuyo, Palawan; sipit-sipit of the Waray of Eastern Samar; kikembe of the Hiligaynon of Cuartero, Capiz; kasipa sa manggis of the Meranaw of Marawi City, Lanao del Sur; and buwa-buwan of the Agusan Manobo of Butuan City, Agusan del Norte.

Similar to agawan base, the mali is considered the signature game of the Dumagats from San Jose del Monte, Bulacan. Usually played after the pagyuyuro (a long day’s work) at night under the moon and along the river, game has two teams, with 10 players each. One serves as pambato (leader). With a ball, each group must protect with all their strength and might the base assigned to them.

In the film directed by Roberto P. Ramirez Jr. and dance choreographed by Ramirez Jr. alongside John Rick Bugas, a player named Emman shows all his strength to win the game and eventually falls in love with his female opponent named Kulot. His love languages are observed and witnessed by Kulot’s younger sister Ekang. He may not win the game but wins the heart of his love.

Played after prayers for the dead or during wakes, koirdas di la bordon entails players secretly passing a ring while singing the Bordon. The “it” tries to guess who has the ring. The guessing game continues until the “it” succeeds in pointing at the person who holds it. The holder of the ring becomes the new “it.”

Featuring the Ramon Obusan Folkloric Group, the film shows the son of a bereaved family initiating the koirdas di la bordon to keep everyone awake and alleviate boredom throughout the night. Children eagerly join in, providing a much-needed distraction from the grief and sadness of the wake. This showed that even in times of mourning, there is still room for happiness and fun. Percival V. Carel directed the film and choreographed the dance.

In Taft, Eastern Samar, sipit-sipit has players aiming to hit each other’s slippers with their own.

The Samleyaw Performing Arts Group performs the choreography of its artistic director Jerry E. Mores in the film directed by Mores himself and Mark Doclotero. In the film, dancers move energetically, incorporating movements that mimic the act of tucking or placing slippers in different parts of the body. The choreography includes rhythmic footwork, dynamic arm gestures, and joyful expressions, capturing the essence of camaraderie and competition found in the game.

Kikembe is often played by children by forming a circle and tangling their hands and feet. As they make various formations, they chant, “Kekembe, nang kekembe/Ang barato nang karamiri/Ginsakyan ni Kapitan Kabyan/Byan, byan…. Byan.” A player who loses focus and stops the routine will render a song or a dance as a penalty.

Directed by Jocelyn Mayo and Ramie Capuyan, the film features the performance of Agdahanay Folkloric Group as choreographed by Rose Hallegado and Cute Candelario. In the film, kikembe ignites the friendship between classmates who bicker and fight.

In kasipa sa manggis, players try to outdo one another by kicking a rattan ball and hitting the manggis hung on a bamboo above them. The player who hits a manggis and makes it drop to the ground gets a price. The traditional game is mentioned in Darangen, the Meranaw chanted epic. In the tale, mythical hero Raja Bantugan competes in kasipa sa manggis, along with other noble warriors and datus, to win the hand of a beautiful princess.

Benhur Abulencia directed the dancers of Sining Kambayoka Ensemble, who follow the choreography of Abulencia and Jear P. Lopez in the film, which tells the story of a Meranaw boy who journeys through the kasipa games and learns the true value of family.

The Agusan Manobo and Lapakonon Manobo children often play the buwa-buwan, a traditional outdoor game in which the runners try to outrun the “taya.” The taya will try to chase and block the runners. Hugis Dance Project of Butuan City performed the choreography of Dariel Endencia and Railey Clark Baring in the film directed by Carlito Amalla and Gerard Hechanova.

Each film is accompanied by four videos on the origins, attire, music, and games behind the dances. The CCP also created instructional videos and books on unpublished dances from the different regions of the country, with materials on costumes, music, instruments, and choreographies performed by partner dance groups from Luzon, Visayas and Mindanao.

“The long-term plan is to create a comprehensive archive of Philippine dances, ensuring that future generations will deeply understand and appreciate our culture and heritage. We aim to distribute these manuals and instructional materials to educational institutions and libraries in the Philippines,” said CCP president Kaye C. Tinga.

In partnership with the Philippine Folk Dance Society and the city government of San Jose del Monte, the CCP will screen the films of “Tara, Laro Ta(y)o” on 25 June, at the Convention Center, San Jose Del Monte, Bulacan. Coinciding with the launch is the 42nd National Folk Dance Workshop, happening from 24 to 28 June.