Asia Pacific Journal of Multidisciplinary Research | Vol. 2, No. 2 | April 2014 _________________________________________________________________________________________________________ 115 P-ISSN 2350-7756 | E-ISSN 2350-8442 | www.apjmr.com The Production of the Pastora in Camarines Sur, Philippines JIYE A. MARGATE pink_pearl1080@yahoo.com Asst. Prof. I, Central Bicol State University of Agriculture, San Jose, Pili, Camarines Sur PHILIPPINES Abstract - The purpose of the study was to document the pastora, a song-dance performance during Christmas season that calls to celebrate the birth of Jesus Christ in two towns of Camarines Sur, Philippines. Specifically, it focused on its production aspect. The categories include: the handing down of oral traditions which influenced the trainers' casting, choreography, costumes, props, musical accompaniment, and performances. The researcher made use of real time data: videotaped pastora dances, observer’s notes, ex post facto data: stimulated recall and interviews. There were similarities and differences in the production of these pastora. Both of the trainers were exposed to this activity at a young age. At present, their granddaughters are members of their respective pastora groups—one way of handing down the oral tradition to the younger generations. Both groups have dresses made of silks and laces. With regard to the choice of colors, Mimay prefers to use light colors such as white, light blue, and pink while Rita favors loud colors such as red, green, and golden yellow. At present they use only one kind of musical instrument in their pastora. Pastora Baao uses a saxophone while pastora Bombon uses a guitar. The trainers also differ in standards for recruiting members. Mimay prefers to invite girls with good singing voice, good dancing ability, and good physical appearance, while Rita believes that willingness is the most important quality of a pastora. The similarities in the production of these pastora reveal the possibility that pastora in Camarines Sur came from one source. The similarities also revealed the impact of pastora in maintaining religiosity and the socio-cultural environment. The differences are influenced by the tradition handed down to trainers, the trainers’ personal outlook, geographical locations, and economic condition. Keywords: dance, intangible cultural heritage, oral tradition, pastora I. INTRODUCTION Dance is an indispensable part of the social and religious life of the Filipinos. In the pre-colonial civilization, it was performed to celebrate good harvest, birth, puberty, marriage, and to lament death. Dance in pre-Christian society was also associated with the gods, as also with heroes (Goquinco, 1980). In the book of Gerona (2011), it was mentioned that pre-Hispanic rituals and festivals were also found the Bikol region. An example is the atang—a thanksgiving ceremony for a bountiful harvest that involved incantations accompanied with vibrating movements by a priestess called balyana. Another is Halea, a feast celebrated to adore the moon which was performed through dancing, singing, and chanting (Gerona 1986). These ancient practices tell that dance is one important aspect in the lives of the Bikolanos. When the Spaniards landed on Philippine shores, the friars had to contend with the pagan beliefs of the natives (Alejandro and Gana, 2002). Since Filipinos of old already had their own religion, music, and dances, Spanish friars integrated the Catholic faith to the ancestral beliefs of the natives through music and dances. Thus, each Parish Church also functioned as a cultural center (Goquinco, 1980). The Spaniards introduced several religious occasions and events such as the observance of the Holy Week, the celebration of the Nativity, and a calendar peppered with fiestas which involved cultural and musical scene. Similar events happened in the lowland Christian provinces such as the Bikol region.