IDD 2025 Bawat Hakbang ay Pag-ibig: A Folk Dance Gala

Day Two of International Dance day performed at the Samsung Performing Arts theatre last April 24, 2025, featured the folk dance community. Not to be melodramatic but it nearly brought me to tears. I have rarely seen full productions dedicated entirely to folk dance, as lengthy shows are few and far between. Witnessing folk dance celebrated in such a magnificent way—and being reassured as a Filipino that the passion for our heritage and culture is still vibrant—was deeply touching. The show offered me a new perspective on folk dance. Wonderfully curated, it demonstrated that there is so much more to explore beyond the well-known dances we occasionally see.

The performances by various groups—Bayanihan, Kalilayan Folkloric Group of Catanauan Quezon, CEU Folk Dance Troupe, UE Silangan Dance Troupe, Sindaw Philippines Performing Arts Guild, UST Salinggawi Dance Troupe, RTU Kultura Rizal Dance Troupe, PNU Kislap Sining Dance Troupe, Kaloob Philippine Music and Dance Ministry, and Ramon Obusan Folkloric Group—painted a vivid picture of diversity and inclusivity. One group featured a voiceover that said, *"Bawat hakbang ay pag-ibig. Galing at galaw,"* which perfectly encapsulated what I witnessed. The performance showcased dancers of all ages, representing many communities that are not always in the limelight. It also included poetry, singing, chanting, and, of course, pulsating live music.

The groups brought their A-game in aesthetics, presenting glamorous costumes, intricate sets, and props that resembled treasures from exotic castles. These elements truly elevated the performances. The classics performed were revitalized and modified for new audiences.

Particularly memorable was UST Salinggawi Dance Troupe's "Kanayunan," which featured *Sayaw sa Bangko* (Dancing on Benches) and the famous *Tinikling*, among others. They took it to another level; for instance, in *Tinikling*, it is challenging enough to dance between the *kawayan* (bamboos) in perfect rhythm, but their version had numerous pairs dancing while the bamboos changed formation—moving clockwise as a group, then counterclockwise. It was thrilling to see them execute these tricks with confidence.

In *Sayaw sa Bangko*, they performed the usual tricks with full commitment to storytelling while incorporating acrobatics like straddle splits and cartwheels using the benches, which was highly entertaining. Through their very overt acting and creative nuances, UST celebrated the playfulness of the Filipino spirit.

A standout moment was the CEU Folk Dance Troupe's *Banga* dance, or water jar dance. Typically, the performers balance five to six jars of varying sizes on their heads—and they did just that. However, to my surprise, two dancers showcased their skills with ten to twelve jars, adding remarkable complexity to the performance. It was technically very difficult, yet done with the ease, poise, and elegance of the Filipino.

The UE Silangan Dance Group took a classic approach, and when their Maria Clara Suite dancers took the stage, the audience gasped. The costumes were beautiful and intricately designed, complementing the dancers' movements. The girls executed generous sweeps, while the boys showcased strong, polished stances, honoring Cora Inigo's original choreography as restaged by Gener Caringal. The classic became a standout in the sea of unconventional pieces.

Bayanihan performed a choreography by Ferdinand Jose with the echoes of the *Agung*. In a duet, the skill level of the dancers was on full display. The male lead performed a lunge and kneel combination, circling the woman. If that weren't impressive enough, soloist Ina Feleo also performed the same combination with grace and strength. The group also performed balancing acts using their musical instruments.

Throughout the show, there were so many balancing acts I had never seen before—balancing on gongs, plates, benches, stools. There were new depictions of Filipino life like the fishing community, playful theatrics, and warriors ready to fight.

The folk dance gala was like opening a book of untold stories about the Filipino. Truly, there is so much more to unravel and learn. Day Two was a powerful reminder that while folk dance may sit quietly in the back of some minds, it continues to evolve. Snippets of our culture remain encrusted in our folk dances—readily available for future generations.

IDD Autobiography : Traces of You in Movement (As published in Runthru Magazine)

 Ayala Land's Circuit Makati is focused on shaping its future as a cultural hub. Its goal is to be recognized not just for its venues, but its commitment to educating, inspiring, and engaging audiences. They aim to be a catalyst for community growth, producing high-caliber events that are often inaccessible to the arts community, such as this edition of the International Dance Day Festival. This five-day festival, featuring a variety of dance genres, is a significant gift to the dance community, celebrating the art form in solidarity with global celebrations. But this year, I believe, they really hit the target. Opening night was a sterling example that Makati is a key player in the arts. Their creative choices clearly show that they have an exceptional grasp of what the community needs and how to propel them to greatness.

Even before the main event began, there was a palpable sense that this festival would be different. Showing unadulterated tenacity, dancers in suits disrupted the mundane conversations in the lobby with their exploratory movement on the escalators, responding to the flow of passersby. They gathered a small crowd, drawing attention to the evening's purpose: to celebrate dance. This performance heightened the anticipation within the dance community for the evening's highlight, Company Wayne McGregor's "Autobiography V105."

Wayne McGregor is a knighted artist in the UK who gained prominence in Europe through his mastery across various platforms, including theatre, film, commercials, and diverse dance genres. Fun fact: he contributed to the famous Harry Potter films. However, it is his acclaimed works as resident choreographer for the Royal Ballet and collaborations with the American Ballet Theatre and Bolshoi Ballet that firmly established him as a forward-thinking creative in dance. The New York Times has characterized him as "an adventuresome experimenter with a restless mind, intent on pushing his disparate audience, his collaborators, and himself." Unfortunately, his brilliance has not been widely showcased in Asia, except for his recent work "Deepstaria," which was presented in Hong Kong. Therefore, it is a significant milestone for his work to reach Filipino audiences, offering a rare opportunity to experience such high-caliber performances.

Autobiography V105: Life Without Sequence

Autobiography" is a profound exploration of McGregor's artistry, encompassing the key elements that have led to his success as a celebrated choreographer. It was the perfect choice to open the celebratory festival because it showed how powerful dance could be. It was substance on a platter, combining science of the past, science of the present, art, and humanity. The theme of autobiography reflects the essence of human nature, encompassing its highs and lows—capturing the emotions that flow through our lives: pain, joy, and everything in between. A common theme in dance, however, the process of performing it is what made the difference. It is performed differently each time.. This piece premiered in 2017, a time when people were focused on deciphering algorithms and big ideas. Dance sketches based on McGregor's genetic code were created, 23 sections, each one tied to a chromosome. For every performance, the algorithm would dictate which dances would be performed and in what sequence, akin to a roulette of combinations where the dancer's fate depended on chance. Only the beginning and the end remained constant.  In its 2025 version, the influence of AI also shapes what is performed on stage, making it an updated scientific yet artistic endeavor. The concept is significant and almost philosophical, reminding us that life is indeed abstract and has no sequence. The impact of the performance was even greater.

The audience was silenced as the curtains rose to a blank stage without wings. A solitary dancer moved, creating ripples with his body. Watching him almost felt like I was navigating his thoughts with him. Devoid of pretentious clichés often found in contemporary dance, he displayed pristine technique and control. As the company's eight other members introduced themselves in their sections, this would remain true. They were all fully immersed in the movement with confident strides, sustained balances, and most importantly, beautiful lines. It says a lot about the company's discipline in staging an abstract show. Confidence in technique allows the dancer to be present in the moment, fully engaged with the physical and emotional task. Company McGregor was indeed a class act.

The performance featured several vignettes, each with emotional resonance. The physicality of the pieces was hyper-articulate, necessitating a strong command of the combinations, as the transitions were wonderfully frenetic. There was no storyline, but you could see melancholic textures and a semblance of pivotal relationships in the pas de deux. While titled Autobiography, the performance felt less like McGregor’s alone and more like a collective diary of human experience. It carved out thoughts in my mind about my own existence—a disruption that, I believe, only true art can provoke.Did I doze off during some sections? Yes. But Autobiography’s beauty lies in its ability to draw you back in, again and again, with unexpected moments of brilliance.

Building Worlds from Light and Shadow 

Beyond the engaging choreography was McGregor’s hand in transforming blank spaces. He is an architect of sorts, creating environments for the dancers to exist, stories to flourish, and emotions to intensify.Working with lighting designer Lucy Carter, they built entire worlds using nothing but light..They used light to create the illusion of the ceiling caving in toward the dancers. At times, beams of light and projections created the illusion of ceilings and planes;, they split the stage into separate rooms, putting focus on different  narratives all at the same time.While I have seen this technique employed by other creatives, the light show is fully choreographed, almost embracing the dancers at all times. At times, they manufactured an effect where darkness seemed to swallow the dancer until they disappeared completely, achieving a strikingly cinematic result. Another memorable segment involved bright flashes of light that blinded the audience, evoking small epiphanies—those life-changing moments that leave you feeling nauseous or dizzy, reminiscent of cinematic car crash flashbacks. It was simple yet genius in its execution.

Art That Provokes

I reckon that this abstract piece is an acquired taste. Not everyone will love it. So I applaud Ayala Land's Circuit Makati for choosing a piece this intricate for the local audiences. It’s about time that people are served something as intricate and intellectually stimulating as this.Even in its minimalist version (earlier iterations included physical sets as part of the choreography), Autobiography V105 remains a conversation piece—one that leaves lasting ripples in the mind.

As Chris Mohani said in his opening speech, "Dance connects us all, transcending boundaries and uniting us through shared expression." The vibrant post-show discussions proved his words true. People are still talking, still debating, still feeling. And that, truly, is the mark of art well served.

APRIL 23, 2025

IDD GALA

SAMSUNG PERFORMING ARTS THEATRE

International Dance Day Festival 2025: The Filipino is Worth Watching (as published in Theaterfans Manila)

Truly an event to be lauded, it showcased everything from traditional folkloric dances to urban beats, classical ballet, contemporary movement, and even paradance.

International Dance Day 2025 is the second edition of Ayala Makati Circuits' advocacy to cultivate interest towards dance and encourage collaboration in the community. Truly an event to be lauded, it showcased everything from traditional folkloric dances to urban beats, classical ballet, contemporary movement, and even paradance.

Artistic Courage and Choices 

On opening night, Ayala Land made a bold choice by presenting the work of knighted choreographer Wayne McGregor, from the UK. His signature works emphasize collaboration, research, development, and the intricate processes of pursuing choreography. 

"Autobiography V105," performed on April 23, 2025, is, as the name implies, a personal account of life, exploring themes of humanity. Written notes, pictures, letters, and memories contributed to the creation of the choreography's sections. 

In contrast to the deeply emotional source of dance, this work combines science, technology, and artificial intelligence, completely transforming the art form. Beyond the success of the output, I found it a beautiful statement to make to the dance community during a festival that celebrates the beauty of the art form. 

There are many reasons to be hopeful about the future. While many fear that AI could signal the death of all arts, I am encouraged that true creatives will emerge victorious. It serves as a beautiful example of a relentless artist, akin to a seedling in dry soil, fighting to find cracks to emerge and grow. Real artists will always find ways for people to see their art. 

Ayala Land’s bold choice to showcase this masterpiece marks a thrilling moment for Filipino audiences—one where art disrupts, provokes, and lingers as a lesson.

Company Wayne Mcgregor Photos by Ravi Deepres

Fond of Folk 

The second day featured a breathtaking folk dance gala, offering a rare, full-length showcase of Filipino folk dance. The event was a powerful affirmation that our people are still passionate about our heritage. The performances—curated with care and reverence—offered audiences a rich look into regional identities and stories often left untold.

Performances by groups like Bayanihan, CEU Folk Dance Troupe, UST Salinggawi Dance Troupe, and others showcased incredible diversity, inclusivity, and artistry. A standout moment was a voiceover saying, "Bawat hakbang ay pag-ibig. Galing at galaw," perfectly capturing the spirit of the evening. Live music, singing, chanting, and poetry enhanced the immersive experience, with groups presenting dazzling costumes and elaborate sets.

Highlights included UST Salinggawi’s thrilling version of "Sayaw sa Bangko" and "Tinikling," featuring dynamic bamboo movements and acrobatics; CEU's mesmerizing banga dance with dancers balancing up to twelve jars; and UE Silangan’s elegant Maria Clara Suite honoring Cora Inigo’s choreography. Bayanihan impressed with a dynamic duet and daring balancing acts.

Throughout the night, I witnessed countless new interpretations of Filipino life—from fishing communities to warrior dances—making it feel like opening a book of untold stories. The gala assured audiences that while folk dance may seem forgotten by some, it continues to evolve, preserving our culture for future generations.

CEU Folk 

To Each His Own

The IDD ballet gala was exactly what was expected: a showcase of pristine technique presented in various forms. The four prominent ballet companies stayed true to their branding. 

The Philippine Ballet Theatre opened the show with "Bughaw," featuring an Eraserheads medley arranged by National Artist Ryan Cayabyab. Choreographed by Gener Caringal, the company performed a piece in their signature style of neoclassical ballet. 

Ballet Philippines presented an excerpt from "Panaginip," which paired their intricate Filipino-inspired costumes with their athleticism. Ballet Manila went all out, featuring a full corps de ballet performing an excerpt from "Swan Lake.” Led by able dancers Abigail Oliveiro and Mark Sumaylo, they were all about classical beauty.  

Alice Reyes Dance Philippines, consistent with their bra

nd, showcased a modern ballet by Bam Damian entitled "C'EST LA CIE." Demonstrating their speed, agility, and dynamism, closing the show passionately.

Hong Kong Ballet principal dancer Fei Fei Ye, partnered with soloist Ryo Kato to perform the Giselle pas de deux and the Butterfly Lovers pas de deux. Both were done with wonderful control and seamless partnering. 

Steps Dance Studio and ABAP represented the ballet schools, showcasing our Filipino youth.  

Homegrown Filipino dancer Vince Pelegrin, now an apprentice with the American Ballet Theatre, partnered with Sooha Park, an artist from the American Ballet Theatre Studio Company. Despite their youth, this pair was the most exciting to watch, impressing the audience in both "Le Corsaire" and "Birthday Variation" duets. In "Le Corsaire," Park executed unimaginable tricks with admirable composure, including double alasecondes, triple fouettés, and suspended balances.

American Ballet Theatre Vince Pelegrin with Sooha Park 

While the guest artists delivered the evening’s most applauded moments, the heart of the gala lay in how the companies defined themselves. In doing so, they showed that there’s no single mold to fit into—only a buffet of voices, styles, and flavors worth savoring. 

Most importantly, the local companies proved that Filipino ballet stands on strong ground, offering excellent technique and resonant artistry. That alone is something worth celebrating.

Dog Days Are Over

IDD Contemporary closed the festival. UP Dance company pieces “Eyy” and “Dog Days Are Over” quite frankly summarize the closing gala’s point of view. Choreographers Dingdong Selga and (Eyy) and Ea Torrado (Dog Days Are Over) both explored the concept of individuality, dancing in abandon, living in abandon in pursuit of some sort of happiness. 

Similarly, dance is out there to feel like a warm hug for the audience. It’s the whole point of the International Dance Day festival to revel in the warmth of freedom of movement, to sit back and relax, and appreciate the freedom that can be seen on stage, and to be inspired by how great the Filipino dancers are. 

UP Dance Company

The Filipino Is Worth Watching 

IDD Festival 2025 delivered far more than a stage for 1,200 performers. It sent messages—some loud, some subtle—that deserve to linger in our minds. The opening reminded us that bold art survives. The folk gala showed us there are still chapters of our heritage yet to explore. 

Ballet night affirmed that Filipino dancers can stand shoulder-to-shoulder with the world’s best and contemporary night reminded us that it’s okay to dance differently—to live differently.

Bigger and better than its premiere year, this festival reaffirmed the value of putting Filipino talent in the spotlight. And in the end, one thing rang loud and clear: the Filipino is worth watching.

Ballet Manila's Legacy Lives On

 

In preparation for penning my reflections on Ballet Manila's Pearl Gala, I revisited several articles I had previously written about the company. As this marks their 30th anniversary, it reminded me of Ballet Manila 2.0, their 20th anniversary celebration—a landmark event etched in my memory. A decade ago, I reached out to Ballet Manila's management to request a camera pass, eager to capture the essence of their 20th anniversary. This was my first foray into photographing professional dancers. I realized I had been capturing moments and writing about Ballet Manila for ten years. In that time, I have missed perhaps only one or two productions. Reminiscing further, I thought about all the shows I watched before that, and it brought me back to my childhood. At the risk of sounding old and ancient, I realized I was probably part of the first few batches of their captured audience. With my mom by my side, I was one of those who went to GSIS and watched their then-ultra-classical repertoire. It dawned on me that I literally grew up with this company. I may have danced for Ballet Philippines and Philippine Ballet Theatre, but it feels like I also know in depth what is at the core of Ballet Manila, having spent so much time in the theater with them.

A Little Bit of History

In the late nineties, ballet (at least for this author) seemed to be an ultra-small community dominated by a whole lot of ethnocentric people. Everything and everyone were so compartmentalized. You were either a follower of the radical contemporary movement, a lover of modern ballet and everything Ballet Philippines, or a follower of Philippine Ballet Theatre's sophisticated repertoire. Early on, as a child and then a teenager, I decided I loved it all in the same breath. As a young dancer who didn't understand politics, I valued them all equally, and so with my mom holding my hand, I watched them all. What a privilege it was to see all the companies shine in their respective areas of expertise. During the Pearl Gala, a short video showcased Ballet Manila's poorest state, dancing in the saddest of conditions. However, within the ballet community, they were never perceived this way. They were always presented as the rich private company that dared to ruffle the feathers of the dance community. Their first decade was not without challenges, but I reckon paying audiences never had an inkling about this. I can only speak for myself, but in the beginning, all I could see was their capacity to fill a theater with enthusiastic paying audience members. With a handful of dancers, they fought to perform full-length white ballets. With the help of companies like  Kremlin Ballet Theatre and Krasnoyarsk ballet, the audiences flocked to the theatre. They premiered white ballets one after the other completing must-haves like Swan Lake, Giselle, La Bayadere in no time. The bunhead in me was thrilled The trailblazers that they were, they brought in the full Russian roster. They had Tatiana A. Udalenkova (Lisa Macuja's teacher) as a visiting ballet master and Viktor Saveliev as their main ballet master, teaching their students and their teachers the Vaganova method of dancing and teaching. Their dancers were perfectly packaged in their classic maroon Ballet Manila shirts and jackets. Their marketing campaigns were brilliant, with their biggest asset in capturing audiences being their prima ballerina, Ms. Lisa Macuja-Elizalde.. They found a home theater in GSIS, and everything was simply beautiful at the ballet. To an audience member like me, it seemed they did the impossible. They existed comfortably as  a privately owned ballet company with a strong message for the public. Ballet Manila aimed to be  the gold standard in Classical Ballet as they still do today. 

Ballet Manila Goes Global

BM’s trajectory was always to establish itself as a global company. They did this through various collaborations, international tours, and more. However, in circa 2000, they achieved something unprecedented. Renowned dance critic Marge Enriquez noted that this period was perhaps BM’s most exciting era. First, they laid the groundwork for sustainability with their scholarship program, initially called Project Futures, which paved the way for the development of homegrown talent. Secondly, their roster of dancers increased significantly, producing accomplished principal dancers like Mylene Aggabao-Salgado and Dawna Mangahas. Additionally, they attracted foreign dancers to join the company as members and soloists. They had beautiful Korean and Malaysian dancers supplementing their already strong company. I can still remember being shocked when international dancers entered as big swans in one of their full-length productions of Swan Lake. It was breathtakingly beautiful, the diversity, the quality and the silent confidence that came with this. 

While these achievements were impressive, the highlight of this era was BM's production of world-class galas that invited top-tier talent to perform for Filipino audiences. The dance community flocked to Aliw Theatre when BM hosted the Asian leg of the Russian Stars of Ballet Gala in 2010. I was in the audience that night and I vividly remember the excitement as the crowd lost composure over the incredible Russian dancers on stage. I also felt a sense of pride knowing that Filipinos held their own in that prestigious lineup. Notable performances came from Jurgita Dronina of the Dutch National Ballet and Dimitri Zagrebin of the Bolshoi Ballet, both of whom drove the crowd wild. 

Cast of World Stars of Ballet By Ocs Alvarez BM Archives 

BM followed up in 2012 with the World Stars of Ballet, featuring performers like Paloma Herrera from the American Ballet Theatre, Yoel Carreno and Yolanda Correa Frias from the Norwegian National Ballet, and David Makhateli from The Royal Ballet, among others. In 2013, they produced a Filipino version of the gala, showcasing Filipino dancers who have excelled internationally, including Candice Adea, Jared Tan, Cristine Rocas, and more. I believe these galas were more than just ticket -selling events; they momentarily positioned the Philippines as a cultural destination, competitive with neighboring countries. For a time, we began to resemble a cultural hub for dance, appealing to a niche market of people who travel to different countries to experience art and theater.

Today, audiences often travel to Hong Kong or Singapore for international galas featuring a mix of global superstars. Although BM has not hosted such galas recently, the thrill of those past events left a lasting impact. There is no doubt that those performances inspired countless dancers who attended, as the beauty they witnessed on stage was undeniably uplifting. BM aimed to be globally competitive and they still do today.

Ballet Manila Today

As I mentioned, I covered their twentieth anniversary. In that article, I wrote, “Tiptoeing to the edge of the map need not mean letting go of who you are as a person. Ballet Manila shows us how it’s done right with Ballet Manila 2.0. Ballet Manila's reinvention is one that will take them to greater heights.” At that time, I discussed how Ballet Manila honored the past, embraced the present, and transitioned into a future where they could confidently navigate contemporary pieces. 

Paquita in BM 2.0 2015 Photography 

Paquita in BM Pearl Gala 2025 

Ten years later, they are no longer beginners in contemporary dance; in fact, they have the ability to excel at it. Their goal remains the same: to honor the past, embrace the present, and conquer the challenge of creating exceptional Filipino ballets and international-level divertissements to reach broader markets. As Lisa Macuja-Elizalde often says, “There’s no more place to go but up.” Surpassing what has come before is their ambition, and it’s heartwarming to witness the pulse of persistence in every dancer of the company. Ballet Manila aimed to be a company that could adapt to the times and they still do today. 

This resilience speaks volumes about Lisa Macuja-Elizalde’s leadership, which has grown increasingly pronounced over the years. Observing what the company has become is a testament to how her vision has transformed into a legacy enjoyed by different generations of dancers. There is no challenge that cannot be conquered and no obstacle that cannot be overcome. The goal is clear: the company must pursue progress. Embracing this mission has become part of their DNA, pushing them beyond their comfort zone. While not every show is a success, having a clear direction that resonates throughout the company is an achievement in itself.

The last decade has been the most challenging for the company. They survived the fire at Star City and the destruction of their home theater, the devastating floods that drove audiences away, and the COVID-19 pandemic along with its lingering effects that eliminated field trips to Aliw Theatre. They also faced the loss of sponsors still recovering from the pandemic and the migration of dancers. Despite a deluge of obstacles over the past ten years, Ballet Manila is stronger than ever. From ashes to arabesque, what a story. From twelve dancers when they started, they have over forty-five dancers today. From performing in gymnasiums, they have a newly renovated Aliw Theater with a capacity of over 1,800. Dozens of competitions were won. From purely classical repertoire to a diverse collection made by local and international choreographers. From no school to two schools with hundreds of students. From international guesting to producing international shows abroad. Not bad at all. With a culture of resilience, a clearly communicated vision for the company, and solid leadership, I believe that the best is yet to come. 

Pearl Gala Mini Review

Through the decades, Ballet Manila has evolved from a young company with bold aspirations to a resilient institution that has left an undeniable mark on Philippine ballet. From its classical roots to its expansion into contemporary works, the company has continually adapted while staying true to its core identity. As they celebrate their 30th anniversary, the Pearl Gala serves as both a tribute to their past and a testament to their present. The evening’s program reflected this journey, blending familiar classics with contemporary works that showcase how far Ballet Manila has come—and where they are headed next.

Interestingly, the lineup for the Pearl Gala was almost identical to that of Ballet 2.0. Staying true to their roots, they once again performed the "Paquita Divertissement," highlighting their dedication to classical ballet. "Paquita" has always been a signature piece for them; it served as the season finale during their inaugural year as a company and remains a tribute to their mentor, Russian ballet master Tatiana Udalenko, who restaged it for them. On gala night March 7, 2025, the performance of "Paquita" was a resounding success, showcasing the company's strength, impeccable synchronization, technical skill, and solid foundation in ballet. Their excellence in ensemble dancing deserves praise. Standouts included Shamira Drapete, with her long, lithe lines and youthful radiance, and Stephanie Santiago, who sliced through the air with her powerful jumps. The Principal pair, Mark Sumaylo and Abigail Oliveiro was elegance personified.  While all soloists displayed strong technique, some could benefit from relaxing more, playing with their movements, and engaging their breath.

Shamira Drapete  Paquita Soloist 

Stephanie Santiago Paquita Soloist 

One of the evening’s undeniable highlights was the restaging of Bloom, a contemporary masterpiece by Belgian-Colombian choreographer Annabelle Lopez Ochoa, first premiered during BM 2.0 in 2015. The piece showcased the striking contrast between the raw power of the male dancers and the refined grace of the women, resulting in a breathtaking display of athleticism and artistry.

Despite having seen this work before, I found myself just as captivated. The choreography's controlled chaos was mesmerizing—grand jetés launched one after another, partnering sequences defied gravity, and the energy on stage was electric. The men, in particular, moved with storm-like intensity, their jumps bold and commanding. Gerardo Francisco stood out, charging across the stage with unrelenting force, his contemporary technique pure gold.

Joshua Enciso and Stephanie Santiago delivered a pas de deux that was poetry in motion—fluid yet charged with a dynamic tension that made every movement compelling. A decade ago, Bloom positioned Ballet Manila as a serious contender in contemporary dance. This performance erased any lingering doubts: contemporary work is now one of their greatest strengths.

Gerardo Francisco 

Romeo Peralta with Pearl Dames 

Bloom World Premiere 2015 Brian Williamson and Abigail Oliveiro

Joshua Enciso and Stephanie Santiago  in Bloom 2025 

Replacing Osias Barroso’s "Etudes" was a new choreography by Lisa Macuja-Elizalde and Martin Lawrence—a bold attempt to merge neoclassical and classical influences. However, from a peaking performance in Act 1, the show faltered. There was a total disconnect between the vignettes. There was an awkwardness to the choreography that made you just cringe a little bit. Men in white tights dancing classical steps who suddenly roll to the floor was unsettling, to say the least. The abrupt style shifts from pulled-up backs to hip-hop movements were jarring. A large group of boys executing jetés en tournant would have been impressive if they had delivered better lines and timing. The black pearl pas de deux resembled a poor imitation of "Black Swan, leaving me confused about whether it was meant to be sexy, dark, or sweet. While Mark Sumaylo and Abigail Oliveiro poured their hearts into their performance, the choreography exposed their weaknesses rather than showcasing their full capacity

The ballet segments were a welcome respite. The pas de six, performed by Benedict Sabularse, Raphael Perez, Nanami Hasegawa, Shamira Drapete, Jessa Balote, and Francesca Raypon, offered a breath of fresh air, reminding me of what I love about Ballet Manila. The boys demonstrated undeniable technique, executing five pirouettes with impressive balance. Although not perfectly in sync, they performed impressive ala second turns, finishing them off with a pull-in on fondu to a relevé passé before landing (It’s hard to explain but this step is hard to pull off ). The audience was shocked to see such intricate steps performed by not one but two dancers, not even on the soloist roster. The girls complemented them as they embodied youth, lightness, and beauty.

There were other beautiful moments in "Pearls"; however they were fleeting. My overall impression was summarized by the appearance of the coda. Following the elegance of "Paquita" and the vibrancy of "Bloom," "Pearls" had its dancers huffing and puffing to finish their list of technical challenges. Some appeared to need medical assistance. With the exception of Shaira Comeros, who remarkably looked fresh from start to finish, this was not an ideal way to conclude the show. "Pearls," intended to impress by showcasing the layers of beauty within Ballet Manila, instead highlighted their flaws. Kudos to the dancers who persevered through it all.

Despite my reservations about the final piece, the evening concluded with enthusiastic applause from the audience. The dancers truly deserved the recognition they received, as did the artistic team who are the wind beneath their wings. Ballet Manila, through its three acts of life, has consistently moved forward with grace. In Act 1, they display bravery; in Act 2, they display transformation; and in Act 3, they display passion and purpose. I believe they will continue to write the chapters of another exciting adventure. After thirty years of being by their side, I wish them the best of luck and a mountain of opportunities to demonstrate that the Philippines is home to some of the best dancers in the world.

Agnes Locsin in a Different Light

In the heart of the upscale Insular Village 1 in Lanang, Davao City, an exhibit of national significance was unveiled on September 26, 2024. The Davao Museum of History and Ethnography launched "Dance is My Life," a tribute to National Artist for Dance Agnes Locsin.

The exhibit is the brainchild and was curated by Pam and Igy Castrillo, whose exhibitions have been featured at the Davao Museum of History and Ethnography, Museo Dabawenyo, and Ateneo de Davao University. Upon approval of the Museum’s Executive Director, Sylvia Lorenzana, Pam and Igy recruited Biag Gaongen, dance archivist, dancer, and current Associate Artistic Director of Locsin Dance Workshop to assist them in this endeavor.  Believing that Locsin’s story has the power to educate, move, and inspire people, the team mounted this exhibit with vigor, passion, and commitment.

I had the privilege of seeing this exhibit last November 11, 2024 toured by no other than National Artist Agnes Locsin herself.

Photo by Lucas Jacinto 

Spoiler Alert

                                   

The exhibit begins with a retrospective timeline that showcases key moments in Locsin’s life in dance. The first thing that catches your attention is a huge photo of two-and-a-half-year-old Agnes Locsin  (dressed in baby ballet attire) striking a pose. The charming picture was taken by her  father Jose S. Locsin who was a photographer of no mean talent. Locsin was largely trained in dance by her mother Car

The exhibit then moves on to two of the most compelling artifacts in the exhibit. You see a framed picture of Agnes’ first ever award in the arts - a Best Dancer Ribbon Medal that Locsin received when she was in Kindergarten.  Beside it is Locsin's National Artist Award. 

You see the actual ribbon - in mint condition - displayed a few steps away, an affirmation of Agnes’ mother’s deep pride and joy in her daughter.  This author could not help but tear up because clearly this section of the exhibit credits Locsin’s mother for instilling in her the joy of dancing, the need to celebrate the Filipino, and the power to educate others.

               

Locsin's retrospective features a few photos of herself.  A large image of her performing a tour jeté showcases her youth and agility. While Locsin is widely recognized as a prolific choreographer, the photo reminds us that she had many awe-inspiring moments on stage as a dancer. This particular photograph was also taken by her father, to whom she attributes her compositional skills and keen eye for aesthetics. 

                                       

Choreographic Pursuits

The exhibit uses technology to provide the audience with a glimpse of Locsin's masterpieces on televisions showing curated content on USB thumb drives, allowing navigation of some of her important works. 

Locsin rose to prominence by creating pieces that embody manifestations of Filipino identity and celebrate indigenous cultures, practices, and beliefs. She developed her own vocabulary of movement, establishing herself as a maverick in the field. Her pieces soon became social commentaries and call to action within the community. The videos clearly show that her genius has a range that is hard to rival. 

Selfless Declarations of Love

The imagery of her dancers dominates the exhibit. One striking image is that of Locsin teaching dancer and nephew Sonny Locsin how to elongate his body. I had the pleasure of hearing Agnes’ personal stories about her dancers. She talked about how her dancers - whom she called her “babies” - would influence her work or glorify her pieces. Her descriptions were profoundly moving. The exhibit is clearly also Locsin’s tribute to her dancers.

Exemplary Artworks

The exhibit displays artworks that showcase Locsin’s dance pieces. They include BenCab’s invaluable Sabel Series and Monette Pangan’s unique and ingenious sculptures. 

But for this author, the most important artworks are sketches done by Locsin herself. These are impressive, to say the least; her strokes are as detailed as her choreography with a strong vibe pretty much like her character. Locsin’s artwork is clearly another bold and creative attempt to explore art beyond her comfort zone. 

                                         

The exhibit closes with a window display of the Locsin Dance Workshop showing items from the past and the present. Locsin has now come full circle. She started in Locsin Dance Workshop as a dancer and choreographer, and she has returned to the same spot to ensure that the art continues in Davao. 

A curated exhibit on a National Artist often suggests that the viewer will encounter an academic review of historical milestones. This exhibit certainly fulfills that expectation; yet, beyond this scholarly requirement, what unfolds before you is Locsin’s very heart laid bare.

Prepared with such sensitivity, the exhibit portrays the National Artist in a different light.  This exhibit is a picture of her selfless disregard for her accomplishments. Instead, in full display is her gratitude for her early influences, her collaborators, projects close to her heart, and her hidden talents. 

                                                      

Photo by Lucas Jacinto 

Agnes Locsin is a teacher, a dancer, a storyteller, a trailblazer, and a Filipino. This exhibit is a true representation of her life - multifaceted, colorful, productive,e and inspiring.  

For the people in the area, this opportunity to get to know the pride of Davao should not be missed. There is too much to learn and too much to be proud of. People from all over should flock to Davao because this is a fleeting moment to be optimized. Understand Locsin and you will understand what being a true Filipino is all about.

REVIEW: ‘La Sylphide’s Cryptic Karma on Spotlight ( Republished)

This show makes it evident that Ballet Philippines has a wonderful ensemble of dancers who deserve to remain at the forefront of their performances. They don’t have just one bright star; they have many.

Ballet Philippines (BP) premiered a new addition to its classical repertoire at Solaire last weekend. La Sylphide played an important part in 18th-century ballet history. It was a turning point that elevated ballet to high art, introducing the romantic ballet era with innovations like pointe shoes and tutus. It generated interest from both new and old audiences. Ironically, this time for BP, La Sylphide had the same glorious effect for opposite reasons. 

The return to unadulterated classics, for this author, brought back the interest of real balletomanes. The semi-purist approach in staging re-established BP’s capability to delight audiences simply by showcasing the capacity of their dancers without the need for frills. It was lovely to see a ballet where the dancers alone were in the spotlight.

Quality Dancing

I watched two casts of La Sylphide on August 11, 2024. Both casts displayed a very high level of technical ability. Despite being the first romantic ballet, La Sylphide’s choreography is very difficult. Act 1, usually referred to as the human act, is performed almost entirely on soft shoes. The absence of pointe shoes does not mean the choreography is easy. It includes numerous small and quick beats and footwork acrobatics performed by the ensemble. Particularly for the male solos, they may appear easy without modern-day tricks, but executing the material cleanly is actually very challenging. The Bournonville style of dancing, which is used in La Sylphide, utilizes minimal and held arms, requiring the dancers to rely on the power of their legs and core for leaps and turns. 

In Act 2, the ballet shifts to an ethereal look that demands a completely different type of dancing. The earthy choreography is replaced by a sense of lightness. Floating balances and soft arms in abundance dominate the stage. That being said, this ballet demands not only pristine technique but also a significant amount of emotional expression as it is a story ballet. 

Overall, BP was triumphant in doing justice to this ballet, providing the distinct contrasting shades it needed to come alive. I would say this is BP’s redemption piece, re-establishing the company as a force to be reckoned with.

Cryptic Karma

The curtains rose to reveal the leading man, James, asleep and a sylph (a mythical spirit) by his side. A sylph had fallen in love with a human and wished to seduce him away from his fiancé, Effie, deterring his wedding. As the wedding preparations went on, a witch entered the assemblage of characters, much to the dismay of the rude James. She foretold the future, revealing that Effie was destined to be betrayed by James and would marry Gurn, who is James’ rival. In complete anger, James threw her out of the house.

James, completely captivated by the Sylph, was lured into the forest. Amidst the chaos of wedding preparations, Effie realized she had lost her groom and was devastated. In the forest, James found the witch, whom he rudely addressed. Wickedly, she offered him a scarf that ensured the Sylph would be forever bound to him. He accepted the scarf and reunited with the Sylph, excitedly placing the scarf around her body. But the witch was on a quest for revenge; the scarf severed the Sylph’s wings. James cried out in sorrow as the Sylph withered and died in his arms. As the Sylph transcended mortal ground, he witnessed his fiancé marrying his best friend. Weakened by heartache, the witch finished him off, resulting to his death. Karma was in full display, showing no mercy for an unkind and disloyal man.

The ballet opened with the dancers very dimly lit. The dancers, however, did not need much light because they brought their light from within. Darkly lit, they radiated with energy, setting the tone for the rest of the evening. They were determined to entertain, and they did.

In the matinee show, James was played by Ian Ocampo, who performed with obvious maturity. His dancing flowed like a stream of thought, continuing the conversation with every step. His portrayal depicted a pompous man who couldn’t resist falling in love with the Sylph, showing little regard for Effie. His approach made his death in the story bittersweet and ever so justifiable. On the technical side, he looked every bit prepared, showing off sure-footed beats with no signs of fatigue in the most difficult sections.

Ocampo’s Sylph was Jemima Reyes, who was technically superb. The fullness of her jumps was satisfying and, I would dare say, almost enchanting. Her grand jetes (leaps) ascended weightlessly with darting speed. Her arabesque balances were sustained and clean, with her carriage held high and soft, which is consistent with the style. While her impish characterization was genuinely entertaining, my favorite part of her dancing would probably be her sensitive portrayal of her death. I felt her disappear with her withering arms and softened glaze. I felt her vanish before my eyes, bringing the fantasy world closer to home. Partnered with Ocampo, who conveyed grief so beautifully, it evoked a moment of profound sorrow and left my eyes a bit misty.

Ballet Philippines principal dancer Rudolph Capongcol as James; Photo Credit: Ballet Philippines

The evening show brought forth a different take on the emotional narrative, but it was equally intoxicating. Rudolph Capongcol was a cerebral James with an elegant countenance. His infatuation with the Sylph was impulsive, like an irresistible drug. His technical performance was equally convincing. His two solos were flawlessly executed, with beautiful ballon and effortless cabrioles that seemed to defy gravity. His Sylph was the revelation of the evening. 

To my knowledge, Regina Magbitang had never danced anything from the romantic ballets before. Known for her feisty bravura style, Magbitang embodied femininity as the curtains rose. Her transformation was complete. As the Sylph, she was still naughty and sweet, but there was a seriousness in her desire for James. There was a newfound sophistication in her softness that I had never seen before. It is quite obvious that she had put a lot of work into her technique. The little details elevated her performance—articulated feet, graceful melt-through on pointes, wonderfully held back, and expanded port de bras (movement of the arms). Her seductive spontaneity created an interesting contrast with Capongcol’s steely gaze, and together they were a perfect fusion of fire and ice.

Ballet Philippines principal dancers Regina Magbitang as the Sylph and Rudolph Capongcol as James; Photo Credit: Ballet Philippines

I was particularly impressed with Clarise Miranda, who thoroughly embraced the essence of the era. While all the leads and soloists delivered, her style was by far the most authentic to that time period. Her emotional restraint was the perfect touch to complete the performance, and I eagerly anticipate seeing her in future lead roles.

The secondary leads also showed flavorful dancing. Dani Kleiner was sweet and endearing as Effie, while Nicole Barroso portrayed a delicate and devoted Effie. Eduardson Evangelio portrayed an aggressive and passionate Gurt, in contrast to Carlo Padoga’s self-assured, confident and calculating portrayal. I loved the variety among the performers. It reflects the freedom given to the dancers in navigating their art.

                                                  Clarise Miranda; Photo Credit: Ballet Philippines

Confusion

If there was anything to nitpick on, I would say the choreography of the Witch could be refined. While I thought veteran character dancer Peter San Juan delivered an amazing job in his characterization, I was confused about whether the Witch and their friends were intended to be portrayed as men or women. Madge was described as a woman, and the costume also seemed to indicate this. I feel the choreography and execution should have aligned.

In Act 1, James throws out San Juan effortlessly and if he was indeed a warlock, that would seem quite off. Having said that, his portrayal was pivotal in the storytelling, and the mismatched choreography did not detract from the magic of the overall performance. On another note, the synopsis mentioned showcasing something uniquely Filipino, but I found this to be a disservice to the Scottish culture as this element was not evident at all. 

Overall Triumph

Despite some elements that may cause confusion, this ballet is a triumph for me. I look forward to seeing more ballets of this caliber.

This show makes it evident that Ballet Philippines has a wonderful ensemble of dancers who deserve to remain at the forefront of their performances. They don’t have just one bright star; they have many. May audiences come to know them better and better through timeless classics that allow them to reach their fullest potential.

Show Dates: August 9-11, 2024

Venue:  The Theatre at Solaire

Running Time: 1.5 hours (without intermission)

Credits:

Artistic Director: Mikhail Martynuk

Technical Director: Luis Alcoran

Lighting Director: Clifford Remolador

Company: Ballet Philippines

Cast:

Sylphide: Jemima Reyes/Regina Magbitang/Nicole Barroso

James: Rudolph Capongcol/lan Ocampo

Gurn: Eduardson Evangelio/Carlo Padoga/Mark Anthony Balucay

Effie: Nicole Barroso/Idele Buhia/Danielle Kleiner

Mother: Ramona Yusay

Friend of Effie: Clarisse Miranda

Guests: Mark Anthony Balucay Emmerson Evangelio, Elijah Roca, Justin EdnaveCarl Lacaba, Earvin Guillermo, Carlo Padoga, Eduardson Evangelio,Joanne Gullermo, Idelle Buhia, Danielle Kleiner, Gia Gequinto, Olivia Bugayong. Ellạ Longgat, Ceana Armamento, Anielle Armamento, Karmin Loy, Mayim Hilomen, Alejandra Rovero, Pia Cabungcal, Anna Soriano

The Musicians: Alexis Piel, Cris Jay Malipot, Elijah Roca, Andrei Donesa, Justin Ednave

Warlock: Peter San Juan

Vassal: Elijah Roca, Justin Ednave, Cris Jay Malipot, Alexis Piel

Pas de trois: Regina Magbitang, Jemima Reyes, Clarise Miranda, Nicole Barroso, Daniele Kleiner

Sylphides: Clarise Miranda, Nicole Barroso  Regina Magbitang Danielle Kleiner, Olivia Bugayong, Gia Gequinto, Joanne Guillermo, Ramona Yusay, Idele Buhia, Eila Longgat, Ceana Armamento, Anielle Armamento, Karmin Loy, Mayim Hilomen Alejandra Rovero, Pia Cabungcal, Anna Soriano, Olivia Bugayong. Ellạ Longgat, Ceana Armamento, Anielle Armamento, Karmin Loy, Mayim Hilomen, Alejandra Rovero, Pia Cabungcal, Anna Soriano