Official Statement of YFP Nueva Ecija regarding "Sulyap" Theatrical Event

ANG SULYAP SA LIMANG TAON NG YFP TANGHAL-DANGAL

February 7, 2020 | Doña Juana Chioco National High School

Municipality of Lupao, Province of Nueva Ecija

The Youth for Peace Movement – Nueva Ecija together with the Doña Juana Chioco National High School and DJCNHS MAPEH Department spearhead the theatrical recital concert for a cause intended for the formal opening of the Special Program for the Arts of the said school. The event started with the presentation of the 7th Civil-Military Operations GWAPO Peace Jammers Band, followed by the Asha’s Tawag ng Tanghalan segment featuring the 5 theatrical plays performed by the Tanghal-Dangal program for the past five years, followed by the performance of the Trabaho Soliloquies, the of the Lahing Lupaoeño Dance Troupe, then preceded by the recitalists of the performance entitled “Modosu”. All of those performances comprise the opening show. A one-hour show break took place, then followed by the launching of the gala theatrical show, performances rendered by the 7CMO GWAPO Peace Jammers Band, “Trabaho Soliloquies” for the second time, special performances by invited artists, then followed by the Lahing Lupaoeño Dance Troupe, and culminated by the Sulyap sa Limang Taon ng Tanghal-Dangal featuring excerpts of theatrical skits of the first four theatrical plays, and followed by the main theatrical play, “Uchi no Itami”. Generally, the event was being supported by an estimated spectating public of One Thousand Five Hundred Sixty-six people. The whole event has concluded for 11 hours and 30 minutes, technically from 1 PM up to 12:30 in the midnight the following day.

A total of 26 performers comprised the Dulaang Magayon recitalists for the Batch 2019 Wave 2. These 26 recitalists served as main actors, actresses, supporting cast and minor actors/actresses. Part of these roles also comprised the head and supporting production staff.

I. SCREENING FOR ACTORS

In the launching of the Tanghal-Dangal 2019 version 2.0, upon the request of the theatrical consultant and coordinator of the school, Mr. Jasson M. Mangalindan, everyone that is interested to join the program will be automatically accepted as part of the cast and production staff. The theatrical artistic director and at the same time, the program head of the Tanghal-Dangal, Direk Pabxz, gladly accepted the proposal of the coordinator and openly welcomes the MOL fifty-five (55) students who became the first batch of actors, actresses and production staff of the show.

II. ACTING WORKSHOP (November 2019)

On the following week, the workshop has commenced. The module prepared for the basic workshop as being noted in the official module of the organization on how the workshop should be conducted should be executed. The program head of the project assures that the participants during the day are equipped with proper knowledge and skills to continue to the next set of activities including the rehearsals and preparation for the performance that will commence on the following weekend.

III. NOVEMBER – DECEMBER 2019 REHEARSALS

As the following weekend comes, the initials are in full bloom. One of the arising problems during these times are the non-attendance of some of the crucial members of the production due to factors that involve the location of the school, the accessibility of the transportation to the participants, the tardiness of some of the participants and other factors as deemed unavoidable. Due to these delays, series of problems have emerged in terms of the commitment of the students in the program and to the program head as the main implementor of the program.

The initial rehearsals have concluded last 14 December 2019, totaling, 7 weekends from the launching activity last October 2019.

IV. PHOTOSHOOT AND VIDEOSHOOT

The photo and video shoot have commenced on the 4th of January, 2020, despite the limited resources and the usual tardiness of the student-participants and of other unavoidable circumstances. The shoot has been successfully executed through careful planning and cooperation of all parties involved and concerned. Although, not every required part of the video shoot has completely finished in line of the required timeframe of postprocessing, which has a crucial factor in the continuity of the whole show.

V. JANUARY 2020 REHEARSALS

On the next parts of January 2020, for where the student-participants begins to rehearse on the final stage of rehearsals for the theatrical show by the following month, some of the minor characters that is needed on every rehearsals (scheduled) are not present, and the discipline has not properly established. The theatrical production heads have decided to ask the school for more time for rehearsals up to the point that the time that should be incurred on the classes are already sacrificed. The three-week excuse from the classes to prepare is a very tiring preparation time in terms of consolidating the student-participants, doing out-of-school paper works and coordination to all government authorities in relation of the launching of the event.

The usual problems arising in terms of the punctuality, timeliness, focus and commitment, including the attitude of the some of the student-participants generally affected the production to fully maximize its potentials in delivering a good and flawless theatrical show that every spectator would love and remember along with the Tanghal-Dangal youth program of the organization.

VI. ABSENCES AND TARDINESS

This is one of the concerns of the organization to the student-participants of the activity, the tardiness and absences on the weekend rehearsals due to again, unavoidable circumstances prevented the theatrical program to maximize its full potential and extending all energy and resources to the proper polishing of the show. Various reason, weighted either valid or invalid, causes conflicts not only to the program itself but also of the leadership capability of the program head to fully weigh in the circumstances to arrive on the proper decisions for the welfare of the production and of the show itself.

VII. EXCUSES FROM THE CLASSES ( January 20 – February 7, 2020)

Although the school principal of the DJCNHS, Mr. Jaime C. Santos, fully supported this program, various issues and mishaps have appeared with the partner event organizers from the MAPEH Department and of other subject head teachers and faculty of the school, those problems and lack of support for the theatrical recitalists, giving the students incomprehensible time to comply with the requirements and sometimes, will not allow the students to go to the rehearsals for variety of reasons internal to the school, which gave the production more time to resolve matters in terms of building trust, confidence and rapport between everyone about what’s happening and what should everyone do to deal with the difficulties everyone experience. Partly, the student-participants have their shortcomings on not properly attending the weekend rehearsals that arrive on the decision to conduct weekday rehearsals.

VIII. THE GENERAL PREPARATION (February 3 – 7, 2020)

The preparation of the participants to the show is the most tiring part for all of them, because of various segments that needed to be rehearsed, the time allotted to the production to prepare for other matters have been shortened, thus, all participants found it very hard to deal with the problems arising during the preparation, and the workloads are unbearable for every student-recitalist.

IX. THE MARKETING PER CLASSROOM ( January 20, 2020)

The marketing aspect of the theater production assures the partner school that they have the production team supporting them in the sales of the theatrical show. The marketing is one of the parts that is very crucial to the over-all budget of the production to be incurred to the expenses of the production, including but not limited to, the food required by the participants, the head, the drinks, the props, costume, and everything that is needed for the production to roll over all the necessary elements of the theatrical recital show. The marketing team heads internal to the production assures the program head that the students are interested in the conduct of this first-time event that will happen inside the campus.

X. COORDINATED MEETING WITH CO-ORGANIZERS TO SETTLE AND CONSOLIDATE MATTERS

Coordination to partner event organizers are a crucial part in the success of the event, but during the 12-week preparation for the event, only the head theatrical consultant, Sir Jasson, is only the one who is directly talking with the program head about the progress of the event. The program head, together with the principal, requested the presence of the Head Teacher III of the MAPEH Department, but insisted to talk to Sir Jasson, about everything the program head needs and/or requires. For the record of the program head, there was never a scheduled meeting between the program head of the Tanghal-Dangal and of the MAPEH Department to finally talk and coordinate about what will happen during the program. But it is raised to Sir Jasson that the program head wanted a departmental meeting to coordinate to them the plans regarding the launching of the event, to get their sentiments, reactions and other matters that the program head needs to know to guide him to decide on the crucial points especially on the marketing/finance part for which the DJCNHS MAPEH Department is in-charge of.

XI. TICKETING SYSTEM AND VALIDATION

There is an issue about the selling of the VIP tickets initiated by the organization originally intended for the outside the school spectators, and eventually being sold inside the school upon the discretion of the program head and its internal marketing officers (Juan, Ariola), subject to the requirement that everything should be listed and accounted for, including the classification, the price and the name of the spectator who purchased the VIP tickets for proper auditing and validation when necessary.

The Palit-Ticket program, for where the general admission tickets are being swapped to the VIP ticket with a little upgrade amount, are being launched due to lack of time of the production to get the tickets sold outside the school due to the reason of time constraints and lack of delegation of tasks to the marketing officers of the school (MAPEH Department teachers) that should be the necessary people to do such promotions outside the school.

Generally, the lack of a formal meeting and coordination with the MAPEH Department caused chaos and disaster to the general planning and preparation of the event.

During the theatrical show proper, the tickets must be destroyed upon entry, but there is a verified report from the utility staff and security team of DJCNHS that some of the tickets that were used during the entry are being collected by some of the MAPEH teachers and allegedly being consolidated to the unsold tickets.

This was clearly a tactic to invalidate any transparent audit of the tickets after the show which the organization found unfair for the producers to get their FAIR respective cuts on the general sales of the tickets, to cover up the expenses of the show.

Also, the program head received a report from Sir Jasson that the initial two thousand six hundred tickets initially given to them on the first week of January have been distributed and they requested to issue another 250 tickets from the theatrical production as addition to the initial ticket requirement. The program head asks the coordinator of the school, Sir Jasson, about the status of the sales, so that whatever feedback the head receives, will be a crucial factor whether to cut expenses to cover up everything and avoid overspending that will eventually lead to production liabilities.

But the latter confirmed that the tickets are being sold on the classroom and additional tickets are being requested, simply a logical thing to assume that the first batch of tickets are not enough to meet the demand of the spectators to watch the show.

There has been a non-transparency on the part of the MAPEH Department regarding the real status of the sales of the tickets because they are not properly coordinating to the program head about the status of the sales, and they only reported the status on the show break of February 7, 2020, which eventually lead of compromising problems that can be avoided if the MAPEH Department, as marketing heads and officers, are able to coordinate to the program head the real status of the sales of the tickets.

The said coordination is crucial to the program head to decided to cut expenses and cancel suppliers that in an event of a budget shortage, none of the suppliers will suffer payment cuts on their services they render.

XII. MEMORANDUM OF AGREEMENT PER PROJECT

There should always a memorandum of agreement stating every condition on the launching of the event that is signed by the coordinator, the head teacher, the principal and the program head to assure that everything is being laid in formality, to avoid misunderstandings and to know specific factors, duties, responsibilities and other details that each parties must provide, including but not limited to:

a. The role of the program head/services to be given by the program head

b. The role of the school/partner organizers/subject department

c. The division of the ticket sales / proceeds / rules and regulation regarding ticket distribution, validation and ticket distribution procedures

d. Materials that will be provided by the organization

e. Materials that will be provided by the school/department

f. Violation of the agreement clauses / consequences for violation of the agreement

g. Other matters that should be indicated in the agreement

h. If possible and by arrangement, the program head can give grades to the student-recitalist that will reflect on the grades of the student in a particular grading period, subject to evaluation on the guidelines set by the theatrical program.

i. ID cards of the school representatives/coordinators/head teachers/program head/authorized representative of the organization to be attached in the Memorandum of Agreement

There should be also a separate memorandum of agreement / service contract agreement between the organization and of all event suppliers that contain provision for the mutual benefit of both parties involved and any violation thereof should have consequences listed on the violation’s clause in accordance with the law.

XIII. MEETING WITH THE PARENTS OF ALL MEMBERS OF THE THEATER GROUP

At the launching day after the results of the screenings are passed, one of the things that should be done by the partner school and of the organization is to meet the parents of the student-recitalists to properly orient them about the program, the pros and cons of the program, and the feedback/reactions of the parents and other matters that needed to be clarified with both parties. The parental consent will be signed on site together with the parents/student-recitalists together with the presence of the MAPEH Department Teacher-in-charge and/or any representative of the school in case of the absence of the assigned teacher-coordinator.

The matters that should be relied upon are the following:

a. The program and its purpose

b. The rules and regulations that should be known by the parent/student-recitalist

c. The pros and cons of the program

d. The academic standing of the student

e. In an event that the student-participant fails to meet requirements of the parents for the grade threshold, the student-participant will be removed in the activity.

f. The program head will suggest an 80% and above grade requirement for all subjects and average grade should be 85% and above to be qualified in the program.

g. For honor students, the maintaining rule is that they must stay on the honor status. 90% and above. If the student cannot meet the requirement, means that the student will be removed in the program.

h. The time of practices should be relied upon/the whole schedule will be relied to the parents

i. Agreement of all provisions of the meeting will result to the formal signing of the parental consent and activity participation terms and conditions, in front of the representatives of the organization and of the partner school.

XIV. DEVISE SCREENING GUIDELINES FOR THE NEW/FUTURE BATCHES

There would be initial and final screenings. The revisions will be the following:

All initial screening aspirants will undergo a 100-point item examination that will consist of a multiple choice worth 50 items, matching type for 20 items, true or false for 10 items and 20 items for essay type. All the passers for the initial screening will continue on the second screening which is the talent test, for all participants will be given tasks for them to test their talents and skills in various aspects of arts.

XV. STUDENT-PARTICIPANTS TERMS AND CONDITONS

All the student participants will be oriented on the final screening about what they will expect on the project, and enlighten them on the rules and regulations of the organization for the theatrical project. The content of the terms and conditions should be the following:

a. Discipline/Punctuality/Commitment

b. Provisioning for Props/Costume/Make-up

c. Schedule of the activity that they will attend all of it. Three cumulative absences on the whole program will result to the removal of the student-participant on the activity.

d. Violations of the rules will subject the participant to the guidelines for the VIOLATION CLAUSE in the ACTIVITY PARTICIPATION TERMS AND REGULATIONS.

e. In an event that the student-participant will quit the program for whatever reason, there would be a consequence that the MAPEH Department/Organization should impose to the student to properly establish discipline and accountability to all student-participants.

XVI. SIMPLIFYING TECHNICAL SETUPS (and clarification of previous technical problems happened in the February 7 event)

What happened to the Tanghal-Dangal youth program in terms of technicalities is so drastic, the technical team/supplier sometimes are not compliant with the contents of the technical rider especially on the specifications of the materials that should be provided to the organization for utilization. This raised the organization to the main concern that the customer, should get proper services from the supplier, non-compliance to the technical specifications, as provided in the Consumer Act of the Philippines, is a violation of the customer satisfaction provisions of the client and waives the right of the supplier to demand payment from such services, because of the dissatisfaction of the customer/client on the services.

One of the concerns is that the program head required the supplier to let the technical team control specific consoles (particularly audio console) to prevent technical glitches made by technical audioman (sound director internal to the technical system) that controls the audio mixer, but has not been provided by the people that came with the technical system.

Also, the failure of the lavalier microphones that disrupts the technical quality of the show should not be blamed to the artists who use the technical equipment, it is the duty of the technical team internal to the technical supplier to troubleshoot their equipment prior to the usage of the client/end user. Failure of those pieces of equipment to function in the performance proper is a clear service failure of the technical supplier to render satisfying service to the client which deems the event to generally fail its purpose in terms of preparation for a performance that should be rendered greater if not for technical problems that the technical system must address before the grand launch of the event.

It is not the client’s fault if the system fails during that time. The failure to deliver great service is a clear waiver of the Consumer Act of the Philippines to the organization, as an end-user, not to fully pay for the services rendered by the technical system subject to fair computation depending on the general use and effectiveness of the system to its intended platform.

The attitude of the servicing crew must be of maximum tolerance, it is reported that some of the crew of the past technical system have said foul and unacceptable words to the client and its end users, especially the words ‘inutil’, ‘bobo’, ‘tanga’, that can affect the emotional stability of the end user to perform well in his duties and responsibilities. It is to raise the concern that the crew on the technical booth is not transparent enough and is being rude to the client in a way or another, that generally affect the program heads’ performance throughout the whole show, that generally affected the conduct of the show in general.

It must be placed in the service contract agreement that any misunderstanding between the servicing crew and the client must serve a fine (indicated in the service contract how much would that be) to be deducted to the total price of the contact as part of the safeguards of the client against the ‘violent attitude’ of the servicing crew against the client as pursuant to the Consumer Act of the Philippines.

---

To correct the mistakes of the technical system, the organization has decided to make a template for service contract for the technical system, indicating everything should be provided exact as-is, or moreover than the requirement, as determined by the supplier. It will be also indicated on the formal agreement that any failure of the system and its related components in its operation/utilization during the event proper will result to fines that will be deducted to the total price of the contract. Also, any equipment that will not be used during the event or is not provided by the technical system will also a ground to fines that will be deducted to the total price of the approved budget for the contract as indicated on the final service contract that the both parties (the organization and the technical supplier) will enter. Photocopies of valid government issued identification cards will be issued as an attachment to the final service contract agreement between the two parties to ensure security of profit and quality of service for all concerned.

---

Furthermore, in the future projects, the technical system will be simplified and must be able to maximize its full efficiency and potential depending on the situation and as being relied to both parties as required by the event, and must be included in the addendum to the contract. Every transaction must be placed in a black-and-white formality to establish trust and professionalism at all times.

XVII. PROPER TICKET VALIDATION and DISPOSAL for TICKET COLLECTION OFFICERS

The ticket collection officers on the day of the event should prepare:

1. A container where the tickets will be placed with the presence of water in the container to let the ticket be destroyed in the final collection process and not to be reused anymore by anyone.

2. The ticket sales will have a cut-off period of one week before the main event so that the initial sales will be the reference of the organizers whether to cut expenses or not, depending on the situation.

3. All unsold tickets must be collected by the program head and all interested spectators will list their names in the waiting list and must be consolidated first and official count of the tickets will be counted a day before the show, and the tickets will be officially released to the partner school after the consolidation process.

4. The formula for the total sales of the tickets would be the following:

a. Total number of released tickets (minus) the returned tickets a week before (equals) = INITIAL GROSS SALES (divided into two – using the 50/50 system) --- total price to be remitted to the organization counted as initial NET SALES.

b. All tickets that will be consolidated through a list will be totaled as FINAL GROSS SALES and will be divided into two, and the total prices that will be remitted to the organization will count as final NET SALES.

c. These guidelines must be indicated in the memorandum of agreement between the school and the partner event organizers for final clarification and transparency of the process

5. The ticket process for future use will use a unique Quick Response Code per ticket to avoid unnecessary duplication of the ticket and detection of it will subject the ticketholder not to enter the venue, will be held accordingly and fines will be imposed to the ticketholder.

6. The organization will have to find a third-party ticket collection officers to facilitate the process of collecting, verifying and to destroy the tickets as the final process.

XVIII. EVENT VENUE MANAGEMENT AND PROTOCOLS

The organizer will hire event marshals to properly safeguard the venue and backstage depending on the situation and must be added to the expenses of the show. The program head will determine how many marshals will be deployed on the backstage, the VIP areas, and the areas that should be having persons that will maintain the security of the venue.

The marshals are not coming from the school and on the organization to prevent bias on the rules and regulations of the venue as deemed necessary.

All the participants of the show must present their identification cards to access the venue and the backstage, including the technical team.

LEVEL 1 PASS – Pass on the Venue

LEVEL 2 PASS – Pass on the venue & VIP area

LEVEL 3 PASS – Pass on the venue, VIP area and the backstage

THEATRICAL PERFORMER – same as level 3 pass

TECHNICAL STAFF – same as level 3 pass

And other positions will have a privilege same as LEVEL 3 passes.

All other stakeholder will need to secure identification cards to access to the venue back and forth.

Ticket Stamps will be provided for those spectators/audience to leave the venue for personal purposes.

XIX. AFTER EVENT POSTPRODUCTION PROTOCOLS

All the performers after the event are subject to the after-event protocols like the utilization of every accounted props/costume/technical materials back to its respective owners in good order and condition.

The activity area that was used as dressing room and for other purposes must be cleaned as determined by the teacher-coordinator.

A waiver of desistance will be signed by the participants and teacher-coordinator if they will leave the venue after the event, containing clauses and provisions that the organizers is not liable in any loss and misplacements of any materials being lent/borrowed to the school and other parties except the organizer himself and its direct subordinates.

All costumes/props/technical materials that is lent to the student-participants must be returned to the organizer/program head right after the event.

All other matters regarding the after-event protocols will be indicated in the activity participation terms and conditions that will be signed by the student-participant and their respective parents.

XX. FINANCIAL STATEMENT ON EVENT PROCEEDS IN CONFORMITY TO THE STANDARD ACCOUNTING/AUDITING PROCEDURES OF THE GOVERNMENT OF THE PHILIPPINES.

In part of the organizations’ transparency in the financial part, all related receipts, reimbursement expense receipt (RER) issued by the Department of Finance/BIR and other official receipts must be compiled by the financial officers internal to the production in a clean sheet of bond paper and encircle the expenses and should be submitted to the program head right after the day ends for the program head to consolidate daily expenses to be presented as part of the production expenses to the partner school. An electronic copy of the receipts will be scanned as a secondary copy of the organization. The original receipts and the financial report will be submitted to the partner school head for final consolidation.

Two weeks after the event, the partner school is required to submit their financial statement to the organization for where the spent portion that came with the proceeds of the tickets must be submitted to the official email address in a portable document format or Word Document as digitally signed by the teacher-coordinator and noted by the principal for accuracy.

This will be forwarded to the concerned personalities in the mother organization for filing and posting in the official website of the organization.

XXI. THEATRICAL OFFICIAL SCRIPT AND OTHER THEATRICAL PAPAHERNALIA INCLUDING TURNOVER, SAFEKEEPING, AND POSTEVENT TURNOVER AND ASSESSMENT

All the scripts and other paraphernalia, including but not limited to, the props, costumes, writing materials, office materials must be returned to the organization or its authorized representatives at the end of the event. Any incomplete materials that never reached the program head will be subject to liabilities of the student-participant.

All the borrowed materials should be returned to its respective owners before they received their compiled certificates of proficiency and completion, depending on what they earned during the program.

The property custodian is primarily in-charge to consolidate all the necessary materials back to the program head as the principal accountable for those materials itself.

XXII. APPLICATION FORMS RULES AND REGULATIONS

The application form must be submitted to the program head right before the initial screening, along with the attached requirements. The parental consent will be given on the orientation day with the parents in case the aspirant passes the auditions.

XXIII. MODULES FOR ACTING AND PRODUCTION MANAGEMENT WORKSHOPS

The modules and other learning paraphernalia, including the examination and other paper works should be done prior to the launching of the activity subject to scrutinizing of the organization for its accuracy and other details for further verification.

All of these modules that will be used in future activities must be submitted to the board of officers, board of directors and board of advisers for approval.

XXIV. ALL REQUIRED PAPERWORKS and other NECESSARY ATTACHMENTS

All the paper works including but not limited to the following, must be complete 4 weeks before the launching of the official event for this youth program, and submitted to the respective board of evaluators 6 weeks before the desired launch of the event, to wit:

a. Request letter to the concerned government agency/ institution about the activity and its required attachments, both in hard and softcopy.

b. Rationale of the activity (should be revised)

c. Memorandum of Agreement between the school/organization, fully accomplished and signed;

d. Service Contract Agreement to all event suppliers, fully accomplished and signed;

e. Sample activity participation terms and regulations printout

f. Sample application form (should be revised)

g. Summary list of the schedule of the whole activity, prior approval;

h. Design of the Certificates, as required by the organization, revised layout, softcopy;

i. Design of the Identification Cards

j. List of the prospective marshals for the event, with contact information;

k. Any other attachments as required by the organization dependent on this post-event evaluation report submitted;

------ END OF REPORT ------

This report will be publicly available in the official website of the organization for reference purposes for every concerned stakeholder to read and react about the conduct of the past activity, and should be considered a public document for transparency purposes.

For more information and queries about this report, please kindly email us at:

yfpnuevaecija@gmail.com

CLARIFICATION:

The YFP Tanghal-Dangal Youth Program is officially closed effective 09 February 2020, upon deliberation of the program sustainability by the board of advisers.

This will be for future reference for all program stakeholders, former officers and former members of the organization, on what lessons they must learn from this experience.

This was written this 27th day of February, year 2020, for public dissemination.

Since this is an organizational report, no signature is required.

****