Buhol-Buhol: The Possibilities and Problems of Entanglement in Contemporary Manila Theatre

Abstract

This thesis proposes entanglement as a useful idiom for understanding the contemporary theatre scene in Manila, capital of the Philippines. Drawing on its Tagalog counterpart, buhol-buhol, I conceive entanglement not only as a juxtaposition between or among elements, but also a process of enmeshing, muddling, and snaring. Taken together, these manifestations of buhol-buhol enable me to affirm the entangled character of contemporary Manila theatre in overlapping representations, histories, relationships, and genres, while at the same time marking some problematic limitations in their treatment of their chosen subjects. This is because, while these entanglements render Manila theatre far more complex than the accusations of mimicry and inauthenticity frequently leveled at contemporary Filipino culture, theatre-makers are often caught up in a more intractable buhol-buhol than they are willing or able to recognize. Four models of buhol-buhol are identified in this thesis: pista (fiesta), kapuluan (archipelago), patibong (trap), and nangingibang-bayan (overseas-worker). These models are some analogies of entanglement found in the Philippine setting. In conceptualizing these models of entanglement, I start by illustrating their materiality and performativity and then I reflect how these are directed towards the complexity of Manila theatre.