By Karla Maquiling

ASIDE FROM its part in the Agrarian Revolt of 1745, very little is known of the sleepy town of Silang in Cavite.

Sining Bayan–a community-based theater group formed in 2001, with 35 active members ranging from 13 to 26–is about to change that.

“Sining Bayan was organized to train the youth in various forms of Filipino arts–theater, dance, literature and writing, and music–so their innate talents are further developed,” Julius Rocas, one of five founding members, said.

Don’t expect to see The Taming of the Shrew or A Midsummer Night’s Dream. No, the group has nothing against William Shakespeare, but it has adamantly shied away from Western theater, preferring only Filipino material and indigenous music (Joey Ayala’s tunes are a favorite).

“We use materials that address issues inherent in our local community so our audience can easily relate to the performances. This is also our way of being true to our Filipino identity,” explained Julius, a human biology undergrad at the De La Salle University- Dasmarinas in Cavite.

After grueling rehearsals for two months, the company finally launched its major production, “Silang Magigiting,” written by Labella de Castro and directed by Abet Gavino, in June 2002. The play highlights the Agrarian Revolt of 1745 in Silang, Cavite, said to be historically the first in Asia.

Remembering Sining Bayan’s opening night, Julius shared, “We were nervously running around the dressing room, and it was only when Buklod’s ‘Oyayi sa Mundo’ was played that we calmed down.”

Sining Bayan has performed “Panuluyan,” the story of the Nativity; “Mga Hapis ni Maria,” a three-part trilogy commemorating the passion and resurrection of Christ; “Nasa Atin ang Pagkakataon,” a voter’s education special commissioned by the Parish Pastoral Council for Responsible Voting for the 2004 national elections; and “Mga Bakas sa El Fuerte Santiago,” a Rizal Day production.

Except for one production, the group has not charged for its performances.

The parents of the group’s members have been all-out supportive of Sining Bayan’s activities, Julius said. “They, as well as other people who knew us, were surprised that we could perform onstage. They never thought with had that on us.”

Local government officials have been encouraging as well, realizing that theater has helped kids to steer clear of prohibited drugs and street brawls.

Aside from instilling confidence in its members, Sining Bayan has enabled them to learn production planning, team building, and organization development firsthand, with each member participating in decision making.

Income-generating performances are in the offing, certainly, but that will come only when Sining Bayan is officially recognized by the Cultural Center of the Philippines, PETA, and other major theater groups. Once certified, the group can work on sustainable funding and better training.

For now, Sining Bayan is facilitating its expansion in other communities in Silang as well as neighboring towns. The group has also worked closely with Maskara, another community-based theater group at a nearby town, General Mariano Alvarez.