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.
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