CCP Art will Find its Way to Your Heart

 CCP President Margie Moran-Floirendo at the Main Theater. (Photo by Kiko Cabuena)

In 2017, the management of the Cultural Center of the Philippines presented to the public their blueprint of what they envisioned CCP to be.  It was an expansion plan for the complex that would include new venues to present art. It included a new black box theater, additional rehearsal halls, new commercial areas, and exhibition spaces.  The main objective as explained by the then Artistic Director and Vice President Cris Millado was to open up the space to new audiences. the change was to make CCP once again a household name instead of a tourist spot for even the local residents.  In the recent press, According to President of the CCP Margie Moran Floirendo from 2018 to 2019  they conducted a building audit to check what needed to be done to ensure that the CCP was rehabilitated prior to expansion. While the CCP leadership seemed ready to take on the challenge of renovation and expansion, things did not exactly go their way. The first wave of challenges came when the budget approved during the  Pres Noynoy Aquino administration was way below what was proposed. Nonetheless, this amount was enough to at the very least repair everything that needed to be fixed and upgrade the Main Theater.  The money was finally released sometime during President Rodrigo Duterte's administration.  The second wave of problems hit when the covid pandemic caused a total national lockdown. The pandemic not only made it impossible to have full-scale construction, it also created a ripple effect on the price of construction and materials. Since the COVID safety regulations have been relaxed significantly,  CCP  has gone forward unfazed by the surreal experience of sustaining the CCP as a premiere cultural institution of the country.  All offices have now been relocated. The CCP has officially been closed to the public and is expected to resume operations in 2026.  Despite the daunting obstacles, the board of directors remains enthusiastic. Armed with an initial budget of Php 900 million  Floirendo says confidently " The CCP Main building may be closed but we promise that we will not falter in our mandate to promote artistic excellence, nurture artists and engage audiences through cultural experiences. We are committed to remaining the leading art institution in the country. And when all of this is done we will remain the premier art institution not only in our country but in Asia". 

CCP Chairman Jaime C. Laya speaks to guests prior to the tour of CCP. (Photo by Erica Jacinto)

                       Ms. Tess Rances, CCP Administrative Services Department manager leads the press tour of the CCP (Photo by Erica Jacinto)

Current State of the Little Theater

Current State of Silangan Hall

Current State of the exhibit area with the contents of the Library

Current Status of the Main Theatre Lobby

Looking Forward

It seems the battle cry of the entire CCP organization is " Expect the Unexpected and respond creatively".  Looking at everything as challenges instead of problems, they will attempt to make the CCP a green institution. The goal is for it to be environmentally friendly and environmentally resilient. Its facilities will aim to be gender-responsive, and considerate to persons with disabilities and senior citizens. While the people wait for this future-ready- complex, the CCP intends to maximize their itsstrong cultural network.  Artistic Director and Vice President Dennis Marasigan reported that the dictum is to broaden its itsreach through partnerships with different venues in Manila and the regional area. Among those mentioned were the Metropolitan Museum, the Samsung Theatre, and the Newport theater. Its exhibitions will inhabit partner museums all over the country. The recent Pasinaya shows that indeed this is possible. In the recent cultural event, CCP  partnered with 30 museums and held 72 performances in various venues. This of course includes the only available CCP Venue the Tanghalang Ignacio Gimenez (Blackbox theater) and outdoor performances at the lawn area. 

CCP Vice President and Artistic Director Dennis Marasigan presents the artistic highlights for 2023

Cultural Revolution

During these trying times the resolution remains the same, making the CCP a household name. As former CCP Artistic Director Cris Millado once said " Art matters to every Filipino" or at least it should. Dennis Marasigan presented a fascinating range of activities breaking the norms of cultural exclusivity. One of the major projects of the CCP is Kanto Kultura which opens up opportunities to reach out to unknown Filipino artists and art forms. It is an attempt to close the gap between social classes with art as the equalizer. Out of the box and into people's minds.  At the same time, Marasigan reaffirms that the main programs of the CCP like the Cinemalaya, Virgin Labfest, Pasinaya, and  Performatura will remain on the agenda.  CCP will work closely with the resident companies Ballet Philippines, Philippine Ballet Theatre, the Ramon Obusan Folkloric Group and the Bayanihan Philippine National Folk Dance Company, Tanghalang Pilipino, Philippine Philharmonic Orchestra, the Philippine Madrigal Singers and the National Music Competitions for Young Artists Foundation (NAMCYA) so that they can present their seasons with dignity. The CCP  without its facilities now has an opportunity to rebrand. It is not just a building( or a complex) the CCP is a cultural movement. They will leave no stone unturned until everyone gets excited by art. CCP is homeless but hopefully not displaced in the hearts of the Filipino people. Margie Moran-Floirendo encourages everyone to continue supporting the CCP so that we can look forward to a greater CCP.

The energetic CCP Board of Directors 

Republished Article from Channels Journal " World Dance Alliance; The Philippines Report" Jan 28, 2022

Different from last year, 2021 forced Philippine dance artists to look at their relationship with dance. It was a conscious decision to resist lethargy and depression to continue to create, to hone skills when there was no audience to please. The pandemic gave options to move forward or move on. For those who chose to move forward, it was indeed an awakening metamorphosis. Those who remained rallied productively, aided by both government and private institutions that bombarded the community with opportunities. The focus was no longer to thrive, but to learn and succeed.

Education is still Key

Limitations had grown with the increase of COVID-19 patients and enhancement of lockdowns. With no choice but to look into safer ways to tell stories with movement, practitioners must learn to embark on cross-genre disciplines targeting more generational interest.

The National Commission on Culture and the Arts’ Dance XChange Project, headed by Ms. Shirley Halili-Cruz, held a virtual International Dance Conference from February 16-19, 2021, with objectives to remind artists that the pandemic should be about breaking borders. 4000 attended, with over twenty speakers from around the world discussing the preservation of dance, creating innovations, and enhancing skills in this new normal.

A group of artists led by Buboy Raquitico also believed in the need to adapt. As part of the Cultural Partnership Initiative (CPI) Program, which is operated by the Korea Foundation for International Culture Exchange (KOFICE), they carried out a youth workshop called Body Archive, with courses on therapeutic creative movement, video documentation, arts and environment, music and site-specific movement exploration. The remarkable facet of this endeavor was that dance was repurposed for advocacy and healing. The culminating activity was a dance film called Sundayag, premiered March 21, 2020.

Where is the Spotlight?

In the absence of live shows, the dance turned digital.

The Cultural Center of the Philippines (CCP) revived the annual Pasinaya Open House Festival from March 19-28, 2021, in coordination with the CCP Dance Workshop, which provided free workshops in different genres. The CCP Open House Festival also launched Tuloy Po Kayo (Please Come In) last March 28, 2021, a virtual festival which included performances from the Artists of the CCP Dance Workshop. Pre-recorded were excerpts from Le Corsaire, restaged by Victor Ursabia, and Edna Vida’s Ensalada.

Premiering on the CCP Digital platform were new works by Ronelson Yadao, who collaborated with director Jerrold Tarog for Kabaligtaran ng Gunaw (Undoing the End of the World), a film about being an artist in these trying times, and Erl Sorilla’s self-choreographed solo piece,

Ghostlight, directed by Joseph Morong, a beautiful lullaby comforting the heart of the troubled. 

Ballet Philippines also premiered contemporary pieces that celebrated the Filipino from its new foreign leaders in their livestream. Galvanized Houses choreographed by Mikhail Martynuk and E. Panfilov, hoped to feature the rich tapestries of the Filipino home in the context of the Filipino spirit, while Joseph Phillips choreographed Limang Daan (Five Hundred). 

Independent producer, Rolby Lacaba, brought to life the Pampanga Ballet Festival, which offered free workshops on February 27 and 28, 2021, with a virtual gala featuring performances from schools and professionals.

The NCCA continued their Sayaw Pinoy episodes through their Dance Xchange Philippines Facebook page. In celebration of International Dance Day, they presented a two-day concert featuring thirty-nine dance companies from all around the Philippines. Also for International Dance Day, nineteen independent artists staged a live show on the social media platform, KUMU. Producer Raflesia Bravo produced “Pulso (Pulse)” and the livestream ran for almost 4 hours. Notable performances include Rhosam Prudenciado Jr’s contemporary solo performance against the digital projection of visual artist Annie Pacana. 

Coming Soon

Likhaph founder Prudenciado and team will launch phase two of his community care projects including developmental seminars, mentorships, scholarships and online classes. 

The Fifth Wall Festival, which proved that dance films can be varied in concept, treatment, and advocacy, curated by dancer/filmmaker Madge Reyes will have a second run this year. Details are still being worked out but it is something to look forward to.

To Remain a Dancer

To create, perform and learn is a precious gift in these times. While the pandemic limits spaces, it has also been an alternate source of freedom for many dancers, who now realize they are limitless. It is with high hopes that those who remain in the fold will continue to move forward with purpose.