The INSTITUTE for PERFORMANCE and ART GENRE STUDIES (IPAG Studies) is the realization of an academy of the performing arts of the Integrated Performing Arts Guild (IPAG), Resident Company of the MSU-Iligan Institute of Technology (MSU-IIT)
IPAG Studies is the MSU-IIT IPAG's education and craft-enhancing arm whose lessons evolved from the methods the Guild and its productions have established in its almost half-a-century of production worldwide. Distinct from the conventional academy, IPAG Studies is rooted in local lore and expressions (in our locality the Southern Philippines) deriving forms and processes from these sources. The principles of Transcreation and the constructs of Representation, Meaning, and Identity frame the organic logic in the courses offered here. Pedagogically-based performance studies and practice combine in a formalized (structured) manner adapted from already-implemented modules and further sharpened as the programs go through their directions. In the curriculum will be theory-principle-, process-, and practice-based modules re-structured adapting the skeleton of Western Theater engagements but sourced from: indigenous dances (e.g., Tig-Ani, pangalay, eskrima, etc.), rituals transcreated (sinulog, kawing, Marinao, buklod, etc.), narratives distilled (Moro-American wars, darangen, agyu, etc.), music (bayok, limbay, darinday, etc.) and oral literature and performance platforms (comedia, sinulog, poetry, etc.). Outcomes will be “progressive,” meaning learning results will be evaluated as students move from one level into the next starting with general short-term workshop-courses to subjects framing practice with principles. (Long term) A dynamic inclusive and interactive performance practice evolved from local cultural resources in expressions, craft, processes, and engagements of works with the highest possible artistic standards;
2. (Long term, Cultural Enhancement) Social cohesion with marked identities signifying the strengthening of cultural fibers;
3. Institutionalized pedagogy providing the inputs for this performance practice;
4. Wide documentation of performance practices for reference and utility;
5. Education system of Performance in place, decentralized, involving the collaboration of teachers, cultural workers, and practitioners from all regions;
6. Significant contributions to the Creative Industry, as indicated by quantifiable indicators including an increase in audience engagements through a wide base of patrons and supporters; and,
7. Active involvement in social and national issues as mirrored in the performances
