The most-awaited inaugural production, Su’g Saulog, presented by the Integrated Performance Arts Guild (IPAG) on the stage of the Academy of the Arts in MSU-IIT (AAMI) Theater. Written and directed by John Michael C. Lagura, the production ran for three days, from October 22 to 24, 2026. They expressed their celebration by reflecting upon Mindanao’s roots and struggles.
After years of planning and construction, the Integrated Performance Arts Guild, which carried the university’s soul for nearly fifty years, finally found a permanent home. John Michael Lagura expressed his gratitude despite the delays and lengthy anticipation of the cultural groups’ new home: “We feel validated; it’s our first time to have this kind of facility.”
He also acknowledged the struggles and obstacles the university faced in proposing AAMI Theater, stating that “State universities are not allowed to propose constructing theater halls.” He added that the project underwent several administrative and procedural considerations before it could move forward.
The statement underscores the fulfillment felt by Lagura and IPAG after years of performing in makeshift campus spaces like the university gymnasium.
IPAG’s decades of struggle resonated with their Su’g Saulog performance, highlighting the relentless resilience and hardships of the people in Mindanao. The hour-long show consisted of six vignettes, namely “Mindurianao,” “Arimaonga,” “Ting Ani,” “Maria Cacao,” “Su’g (Pangalay),” and “Kapmabaning,” and one intermezzo, “Daw Dahon nga Laya,” showcasing human greed, indigenous and labor exploitation, regional climate crises, including recent floods and water scarcity, and traditional Mindanao lore.
The visuals of Su’g Saulog directly focus on the strong rituals of Sulog, which translates to sea currents or tides. Lagura revealed that the root story—Mindurianao—comes from the 'Giant Durian Genesis Lore' by Kublai Millan, a Filipino artist who sculpted a giant durian in Davao City. The sculpture depicts six human figures in place of the traditional seeds within a halved durian, symbolizing Mindanao’s tri-people communities.
For Lagura, that establishment and image began the movement because of the tides and winds that separated Mindanaoans. He said, "We are like seeds and pollen being blown by the wind and carried by the waters," emphasizing that he used a Mindanaoan lens in navigating through the diverse expressions.
He highlighted that not only did he want to showcase that identity system, but also the current situations we are facing, "not just judgment but to provide a snippet of the struggles, joys, and celebration today to the audience.”
He shared how the recent issues of society became a “triggering factor” for Su’g Saulog. “It felt like a wave; the realities that we are experiencing right now are compelling, and it put me in a place where I did not have any choice but to put it on stage, even though it was risky.”
His statement pointed out that these uncomfortable realities are not only faced by the Mindanaoans but also around the world, concluding that he felt this responsibility in creating Su’g Saulog despite the consideration that some audiences may feel uneasy watching.
On the other hand, the production’s raw elements of live music, choreography, vivid costumes, and the traditional instruments gave the new theater life. The improved acoustics and enhanced lighting amplified the impact of each performance, resulting in more immersive and compelling storytelling.
For the student audience, these Mindanaoan narratives hit close to home. Stephanie Madronero, a second-year BA Literary and Cultural Studies student, shared that among the different stories, “Maria Cacao” struck her the most. The use of local folklore lingered, highlighting the grief and strength surrounding Iligan City’s history of encountering Tropical Storm Sendong.
Abel J. Domingo, a Grade 9 student from Iligan City National High School, also noted how the performance became an eye-opening experience. "The slip-in on the flood control and recent water disruption made me happy because it tells students to wake up and know the truth," Domingo stated.
His reaction highlights how Su’g Saulog remained accessible to the younger viewers, giving them a chance to understand complex local issues through creative storytelling.
When one of the performers, France Katada, a resident artist and assistant artistic monitor, was asked which vignette stood out most to her, she said that although she performed in Su'g (Pangalay), choosing a favorite was hard because every vignette had its own beauty and uniqueness. Yet in terms of the context and story, the transition from Ting-ani to Daw Dahon nga Laya resonated with her as an Iliganon.
"It speaks directly to our reality as a community here in Iligan, where people are holding up a facade to the irony of living in the 'City of Waterfalls' when water for necessities barely even reaches us in our homes," she asserted.
She also shared the doubts and exhaustion she encountered: "There were days during rehearsals where the setbacks ate the life out of us so much that I had to ask myself, 'Why am I even doing this? What did I get myself into?'" revealing the amount of dedication poured not only into the days of the show but also into the months of rehearsals.
The rigorous efforts yielded fulfillment for Katada: "It validates us that the audience ends up sharing the same frustrations we carry, right there through our performance. That unspoken, but real exchange between us on stage—the audience is what makes the whole thing beautiful, and it turns all that bruises, exhaustion, and frustration into raw purpose—telling our people's truth and giving a voice to the community we represent." Hoping the audience would carry these realities beyond the auditorium, Katada urged community members to “ride the current and stand strong with it.”
Behind the successful execution on stage, Su’g Saulog’s production team also faced immense technical pressure, adapting to the new facility. Antonio Lluisma, a member of the backstage lighting crew, reflected: “It’s a different kind of pressure because you really had to make the artists visible. Even though my job does not require me to be seen, it’s also my job to make everyone seen.”
Beyond offstage and onstage, facing trials felt exactly like battling the currents. Lagura pointed out the infinite number of challenges they faced within the production's two-year development. He detailed how schedule setbacks, artistic blocks, personal doubts, and financial strains made putting up a show feel like carrying an overwhelming weight alone against all odds, even bringing him to the brink of giving up on the guild. Despite the hardships, he acknowledged the help and support he received from various people, believing that without their contributions, success would not be possible.
Addressing aspiring artists, Lagura said: "For the young people who are venturing into theater, it's about commitment and an obligation, a social commitment, because there will always be a political side. It's not just a calling you have to take but a higher sense of order that requires you to make a decision for society and engage the community in a political dialogue, not just a sideline. It's demanding." His statement amplifies that theater is meant to spark meaningful dialogues rather than treating the craft as a sideline.
Ultimately, Su’g Saulog proved to be more than another IPAG production but a historic and purposeful one. Marking the AAMI theater hall not only as a modern university structure but a sanctuary for regional storytelling and a history of perseverance, undeniably unveiling the creative expression and resilient spirit of Mindanao.
Through the craft of IPAG and sturdiness of the theater may more Mindanaoan stories unfold to be amplified.
Written by Mary Mikaela Llauder
Proofread by Bea Faye Eumague
Photos by Jocel Mae Latris
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