HALO-HALO CULTURE AND PAGAN RITES Set in the 1920s, the film tells the story of a couple caught in the juxtaposition of Catholic/Hispanic value systems and the pagan rituals that existed long before Magellan set sight on Cebu. The Tatarin is a uniquely Filipino version of a druidic rite. During this surreal ritual, which takes place during the feast day of St. John the Baptist, normally repressed women transform themselves into "Tatarin" - enchantresses and witches. They gather together to worship the centuries-old balete tree, which sets them totally free from inhibitions, empowering them to dance erotically while the men (who normally per macho Hispanic tradition completely dominate them) watch helplessly. Symbolically, this suggests a theme of balance, with man as Sun and woman as Moon - and about the imbalance brought about by the externally imposed values of the West. The ritual reflects, like many pagan rites, the vital importance of maintaining balance between heaven and earth, an essential balance for ensuring healthy lives, avoiding devastating wars, and raising good children. When things get out of balance, terrible things happen. In pre-Western Philippines, the Sun (male) represented the Supreme God (known by Kabunian and other names). But equally important was the feminine moon, wife of the sun. The cycle of sun and moon ensured balance, much as yin and yang do in other Asian traditions. These dichotomies are captured elegantly in Tatarin, which has as one of its primary themes an oppressive heat symbolizing elemental passions always on the verge of exploding. The movie has many images of the sun boiling in the day and the moon burning hotly during the night. There is a great deal of repressed libido here, captured in the Filipino term libog, which basically means the state of being horny. Paeng, the masculine and aloof husband (played by Edu), sees the ritual as silly and old-fashioned, suitable only for the indios. His wife, played by by Dina Bonnevie, embraces the ritual as a long-sought after channel for self-expression (and orgiastic release), something totally foreign to Catholicism and the repressed sexuality it brought with it. Ultimately, Paeng ends up crawling in the dust in front of his wife, ready to kiss her feet now that she has finally asserted herself as a woman. Aside on libog: When asked to interpret his work, Joaquin reportedly replied: "It's all about libog, isn't it?" To illustrate the use of the term, consider the following three versions of the phrase "you're making me horny": Tagalog: Nalilibugan ako sa iyo; (2) Taglish: You're making me libog naman; (3) English (sixties version): Why don't we do it in the road?
