ALBAY'S ICON. Julio Mendoza delivers his speech after receiving the "Onra San Daraga" cultural icon award from the local government of Daraga in Albay province on Friday (Feb. 23, 2024) for his outstanding contributions to the promotion and preservation of the town's cultural heritage. A theater practitioner and educator, Mendoza has become a revered figure in the local art scene in the region for his thought-provoking theatrical productions. (Photo by Gladys Serafica)
DARAGA, Albay – Julio Neo Mendoza, 65, has always put his body where his ideals are.
The streets became his stage, making theater, dubbed the "art of the elite," accessible to the masses, during the 70s.
In the wake of a destructive typhoon that turned some villages in Albay province into no-man's-land in 2006, his dance theater production, "Reming," was like a balm that soothed the soul.
Amid a tragedy that has claimed so many lives, his message of hope and advocacy for environmental protection, embodied through movements, choreography, and music, became a means to come to terms with the collective sense of grief and loss and a way to move forward, armed by the lessons of the past.
As this town in Albay conferred the "Onra San Daraga" cultural icon award to this theater stalwart and educator on Feb. 23, the Philippine News Agency got up close and personal with the creative genius as he talked about the power of storytelling to evoke emotion and provoke critical reflection.
The making of a theater stalwart
Mendoza's passion for storytelling started at an early age, growing up in a village near the bustling market of Daraga.
With its narrow alleyways, teeming with all kinds of goods and all sorts of people, the market was a microcosm of society, providing a front-row seat for the young thespian to witness the drama of everyday life.
And it was in these seemingly mundane and fleeting interactions – hawkers and customers haggling over prices and strangers exchanging conversations – that sparked his interest in capturing the intricacies and nuances of human experiences and immortalizing them through his art.
His first foray into the world of performing arts dates back to the 1960s when he became actively involved in the activities of the Daraga church.
"When I was in high school, I was tapped to choreograph interpretation movements for the enculturated liturgy. This allowed me to incorporate music, symbols, and dance in the church's religious rituals and ceremonies and infuse the liturgy with elements of the local culture. Enculturated liturgy makes the act of worship even more meaningful to the community because it reflects their cultural contexts," he said.
Just like any other artist, Mendoza revealed that he also went through a creative rut.
"There came a time when I really struggled to come up with new ideas or movements. A friend of mine suggested that I seek inspiration from theater to reignite my creative spark," he said.
The theater opened new doors for him, allowing him to try his hand at playwriting and directing.
In retrospect, this cultural icon bared that his "short but meaningful" stint at the Philippine Educational Theater Association (PETA), made possible through a scholarship grant offered by the Franciscan community, paved the way for his artistic advocacy.
"Theater productions must be relevant and accessible to the masses to preserve local culture, address issues, and help find humane solutions to society's problems," he said.
Theater for social change
With an illustrious career in theater and the academe spanning decades, Mendoza has become a highly revered figure in the local cultural and art scene.
In 2018, he was hailed as “Outstanding Bicolano Artist for Culture and the Arts, a prestigious accolade given by the Albay provincial government. Five years earlier, he was also feted the “Albay Artist Award” and named as a recipient of the “Omaw Sa Oragon Award” in 2012 at the University of Sto. Tomas in Legazpi City.
Aside from being a most sought-after judge and consultant for various dance, street dance, and musical competitions in the region and beyond, his legacy as a theater educator has left a lasting imprint on the young generation of performers fortunate enough to be mentored by him.
Former student Sarah Monay, 27, fondly recalled her first encounter with this theater icon at Bicol University’s College of Arts and Letters.
"Sir July was the first person who made me cry in college. I remember how scared I got during the first day of classes when he passionately emphasized that if our hearts weren’t fully into theater, we shouldn’t be taking the course at all," she said.
Monay, who is now a scholar at the Tanghalang Pilipino Actors Company, the resident drama company of the Cultural Center of the Philippines, described Mendoza as "strict," someone who lives out his convictions in his theater practice.
"He showed us that when you know what is right and you feel strongly about it, you can and must do something to stand your ground,” she said.
"I can confidently say that a big part of my political voice and creative pursuits are inspired by the scripts, productions, and life lessons that I encountered under his tutelage."
From his "Sa Pamitisan sa Bulkan," which brings alive onstage the realities of the Albayanos living in evacuation centers, to "Kaldero," a movement theater that tackles how power dynamics, Filipino mother migration, and cramped spaces in poverty-stricken households can increase the risk of incestuous relationships, and "An Ngaran Ko Daraga" (My Name is Daraga), which showcases the rich cultural heritage of his humble town, Mendoza has used the stage to put a spotlight on issues that demand public attention and, in so doing, advocate for social change.
Through his well-crafted productions that transcend artistic aesthetics, Mendoza is able to harness the transformative power of theater to challenge audiences to confront uncomfortable truths, thereby sparking conversation and critical reflection.
"I want my art, whether it be dance or a stage play, to provoke thought and inspire action and not be confined to pure entertainment," Mendoza said. (PNA)
