CCP's Bulawan, An Obvious Cry for Help

For the past two seasons, the Cultural Center of the Philippines workforce worked tirelessly planning their golden season. During this time they continuously echoed that their ultimate goal was to  glorify and preserve Filipino art and artists, expand global leadership and  broaden their reach in the Philippines. In their last press conference launching their golden season, Vice President and Artistic Director Cris Millado was able to eloquently explain how they intended to materialize their goals. They had ultimately emphasized that the role of the resident companies would be massive in achieving their intended art to be shared with the Filipino people. Aside from the much needed complex expansion, they had twenty major projects for 2019 to resonate their idea of goodness, beauty and truth (kabutihan, kagandahan, katotohanan). It was evident also that they tried their best to curate their projects to stay committed to this. Their "patikim" of CCP at fifty was inspiring. Kudos to the cultural institution for the successful delivery of an extended and more meaningful PASINAYA with value adding free workshops. It really was a beautiful representation of KABUTIHAN. Cinemalaya and Virgin Labfest celebrated their fifteen years fully reflecting what creative freedom can do. CCP Choreography Series also completed Koryolab for emerging choreographers exploring social realism. It was a thrilling exploration of KATOTOHANAN. CCP granted Ballet Philippines a chance to do a memorable "homecoming" with over 400 dancers representing the BP alumni community. Products of Ballet Philippines and their students performed for two days showcasing how massive the influence of CCP and Ballet Philippines have had in the dance community. Philippine Ballet Theatre presented their colorful take on "Mirinisa" which is in tribute of CCP's anniversary. It is after all the first ever full Filipino ballet to be performed in the complex. It was premiered during the inaugural season of the CCP. The glorious dancing can only be described as sheer KAGANDAHAN. There were many more fruitful activities that showed the passion of the CCP workforce. Definitely with that kind of a build up, my expectations were quite high as I waited with bated breath for "Bulawan" the people's gala that would represent the golden roadmap. No amount of superlatives however can adequately describe my emotional reaction to the show.

Philippine Ballet Theatre revisited Mirinisa in celebration of the 50th Anniversary of the CCP

Breaking Apart

Through the course of my career both as an artist and an advocate for the arts, I have never witnessed that many technical problems all in one show. It was quite difficult to enjoy the performances because I could not help but commiserate with the artists who had to deal with the buzzing grounded sound. The radio frequency was also affected as speakers picked up voices from the sound booth. The microphones of the artists kept acting up. Things like this happen in theatre but it shouldn't happen to almost all the artists in the show. In a pivotal moment depicting death, it felt like everyone was concerned not about what was going on but how these artists could continue to perform with the buzzing and inconsistent audio. Special mention has to be made about Joanna Ampil who flawlessly shifted from modulating and singing delicately her melodies coping with the microphone issues. Not only was the audio inconsistent, it would break into mindblowingly loud  sounds. She never flinched even through the really alarming interruptions. The audience would gasp each time almost as if we were anticipating a bomb scare. She never took a breath nor broke  her character. Truly her performance was a class act. The choir also experienced some inconsistencies. All three hosts had failing microphones. Veterans Celeste Legaspi, Nonie Buencamino and Shamaine Centenera-Buencamino were absolute sports adding a jest or two in their spiels. Memorable was Legaspi joking about why billions must be raised to save the CCP.

Hosts: Celeste Legaspi Shamaine Buencamino Nonie Buencamino

Joanna Ampil

Stephanie Quintin and Ervin Lumauag

Lack of representation

The collection of performances was weak. It was a golden opportunity to showcase the very best "products" of the CCP. Instead it was a showcase of somewhat rough pieces that needed fine tuning both in concept and in execution. It was as if the creative group did not consider the repertoire of the resident companies and guests involved. Surely if there had been more lengthy dialogue and consultation with the groups, there could have been a chance to present each group's best. To make a point, if Act 1 was about Philippine identity the noticeably absent Philippine Ballet Theatre could have contributed excerpts from their recently concluded Mirinisa or Vinta for Mindanao, Entablado for Visayas and Fiesta for Luzon. They could have represented neo-classical dance in the Philippines. Bayanihan was made to perform Las Mayas which was a fluid and playful piece about a bird. However, was it really the best representation of the National Folk Dance Company who had just recently won global awards? Entertaining yes, but not quite the grandest piece that could present the colors of the Filipino heritage. The company could have easily represented our commitment to preserving our roots in dance with traditional repertoire that they are famous for. The same applies for the Ramon Obusan Company. The participation or non participation of Tanghalang Pilipino was quite sad. Here is a company who resides in the CCP structure yet their contribution was a mere delivery of a couple of lines at the back of the silk cloths. It was quite saddening that they were not maximized. This company has so much material that could have been used. Monique Wilson who was at the forefront of their Mi Ultimo Adios performance could have joined them in an excerpt of Mabining Mandirigma. The piece could have represented history. My point being, if the first part was about defining the identity of the Philippines, it hardly did.

Bayanihan Dance Company

Ramon Obusan Company

Monique Wilson

The second half of the show meant to show the Philippines and the World. Ballet Philippines  showed off their pristine Carmina Burana. I understand the choice as it allowed the brilliance of the singers to be highlighted against a backdrop of athleticism. As mentioned earlier, Joanna Ampil's broadway medley was glorious. Her voice was crystal clear and her performance remained intimate despite all the obstacles. After her performance was a weird return to Filipino pieces. Having said that, I would have loved to see her perform Filipino pieces from the recent Larawan or Walang Sugat instead to show that the global performers choose to remain Filipino. The inclusion of Daloy Dance Company was odd. Daloy is a reputable dance group however they could have looked a lot closer in sourcing talent. If the genre was contemporary dance, it would have been more relevant to choose from among the young  participants of WIFI, Koryolab or even the youth of Neo Filipino. After all, these are all products of the CCP Choreographers Series. If the requirement was NAMCYA then they could have utilized the young winners of Philippine Ballet Theatre.

Daloy Dance Company

The forced collaboration between, literature, dance and music often cast a shadow on the excellence of the artists. The CCP resident companies and invited guests I believe should have had a hand in the creative direction of the show in order for them to showcase their very best in alignment with the goals of show. Furthermore, as these groups were instrumental in the fifty year journey that was being celebrated, they should have been given their own slots with full introductions. The show after all was three hours. Some groups were given as much as twenty minutes minimum and others were given less than five minutes. A lot can happen in that period of time. There are only nine resident companies and a few subdivision of arts after all.

Katotohanan, Kagandahan at Kabutihan

Certainly, the three hour  gala featured amazing talent.  Kagandahan was present. Katotohanan was in full display as well. CCP needs help. In a way the show encapsulated the unspoken cracks in the institution. While this was unfortunate, I have hopes that it is a cry of help that was noticed by many. As for Kabutihan, the CCP workforce have been heroes of this generation working towards protecting art but they are people too. That being said, I hope the gala opens opportunities for conversations to happen. Good things come out of deep healing conversations. I don't think that was how they wanted Kagandahan, Katotohanan and Kabutihan to be played out but I think everything happens for a reason. The show was personally not my cup of tea but  I look forward to more success in pushing art forward. In fact, I am confident and hopeful that everything that follows will help make CCP the living room of the Filipino people.