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

Back to Back Ballet Classics

The month of August evokes a particular aesthetic. Thoughts of autumn colors, swirling leaves, and the magical glow of golden hour come to mind. In Taylor Swift's song, she sings of August slipping away like a bottle of wine, symbolizing missed romantic opportunities. It's almost as if August bring either solace or sadness, a pivotal moment in time. Ironically, Ballet Philippines (BP) and Ballet Manila will be performing romantic ballets that perfectly capture the essence of August mood. Ballet Philippines will kick off its 55th season with La Sylphide, while Ballet Manila (BM) will present Giselle. Tis the season for willowy ballerinas displaying lyrical softness and weightlessness. Tis the season for epic tragedy ballets.

Giselle (at least for this writer) has always been Ballet Manila's gem. It's the ballet that BM has perfected. Giselle stagings have consistently emphasized Ballet Manila's meticulously precise ensemble work, unity, and grace. Each staging of Giselle reiterates this to the ballet community. Lisa Macuja herself explained what makes Giselle a perfect fit for the company; "It's the style in which we take class every day. The disciplined use of the upper body and uniformed ports de bras is what the Vaganova style demands from the dancers when we take during class. Performing Giselle in the 'old romantic style' is something that is already ingrained in the dancers in Ballet Manila dancers. While a majority may advocate for updated versions the old ballets, I do hope that Ballet Manila can show audiences their good old white ballet magic once again. BM's Giselle always sounds like a good idea, especially because they offer two Russian Principal Dancer Renata Shakirova and Second Soloist Aleksei Timofeyev from the Mariinsky Ballet. Shakirova graduated from the Vaganova Ballet Academy, specifically from the class of Tatiana Udalenkova, who was also Lisa Macuja Elizalde's Vaganova teacher. She was promoted to Principal just recently. Timofeyev, a multiawarded dancer, also graduated from the Vaganova Ballet Academy. Their history creates a strong and charming connection. Macuja's vote of confidence for the pair makes this author giddy with excitement. What magic could this pair bring to Ballet Manila's precious gem? Our local stars, Abigail Oliveiro and Mark Sumaylo, are also set to perform in the Matinee. Stephanie Santiago will perform as Myrtha, and the Peasant Pas De Deux will be shared by Shaira Comeros and Joshua Enciso, as well as Pia Dames and Raphael Perez. Pearl Dames and Shaira Comeros will share the lead Wilis role. Ballet is all about tradition, and I have high hopes for this production. I echo Lisa Macuja-Elizalde's sentiments, that it is a privilege and an interesting challenge to pass on the style and knowledge to the next generation of ballerinas. Let's see if Ballet Manila can once again enthrall audiences with Giselle. The show opens with guest stars on August 31, 2024, at 8:00 PM at the Aliw Theater, followed by a 5:00 PM show on September 1, 2024. Tickets are available on Ticketworld.

On the other side of town, the stage will also be adorned in white tulle. For the first time in Ballet Philippines history, they will be staging one of the earliest romantic ballets ever created. Dance Critic Steve Villaruz captured it perfectly, describing "La Sylphide" as a delightful drizzle that inspires the imagination. The storyline is poetic, blending a love story elements of enchantment. When this ballet was last performed, it created quite a stir in Manila with critics showering it with praise. Philippine Ballet Theatre showcased its exceptional cast, including Lisa Macuja Elizalde with Osias Barosso, Anna Villadolid with Raoul Banzon. It was three decades ago, and at that time, it was considered challenging. I am curious to see how BP dancers will find it now, considering their enhanced level of athleticism. This ballet demands a lot from the dancers, with sophisticated refinement in movement and sections that require dynamism, quick and clean footwork, and balon. Truly this will be a great challenge for Ballet Philippines. Artistic Director Misha Martynuk explained that while there was no special training for the dancers, but there was emphasis on the quality of movement and a consistent need to train cardio to sustain stamina. This ballet presents an opportunity for growth and progress for the dancers. With such a talented group of performers, I am excited to see if they can rise to the occasion. Taking on the lead roles of Sylph and James are Jemima Reyes, Regina Magbitang, and Nicole Barosso, supported by Rudolph Capungcol and Ian Ocampo. Incidentally, the production of LA SYLPHIDE also inaugurates the season’s theme of relevé, which in ballet means to rise onto the tips of the toes. La Sylphide actually introduced the concept of going on pointe. I'm beyond excited to see if their show will actually be enpointe in quality and storytelling. The show opens on August 9-11, 2024, at the Solaire Theatre. Tickets are likewise available Ticketworld.

Jemima Reyes as Sylph (Photo Courtesy of Ballet Philippines)

Both of these shows have storylines that hint at tragedy, but I sincerely hope that they will be triumphant, filled with love and joy from both the dancers and the audience members. May they articulate the August mood and fill the stages with mystique and magic. Sending both companies a whole lot of love. shows are a must-see, and I encourage everyone to come and experience them. See you at the theatre.

PBT Continues to Make Legends Come Alive

The Philippine Ballet Theatre will have its world premiere of "Sarimanok" on July 6, 2024 at the Samsung Performing Arts Theatre. The ballet, which draws inspiration from the legendary bird of Philippine folklore, will showcase Ronilo Jaynario's brand of neoclassical choreography accompanied by the emotive music of renowned composer Paulo Zarate. This collaboration follows the success of their previous production, "Ibalon," the Bicolano Epic, which premiered in 2023. The production is a testament to the collaborative spirit of this team up. Jaynario expresses, "Ibalon made a strong impact on both the audience and the performers, receiving rave reviews and praise that any dance company would aspire to. So, the challenge is to achieve the same for 'Sarimanok.'"

                   

PBT President Marilou Magsaysay emphasizes that PBT will continue to pursue its vision. She firmly states, "We continue to create innovative performances that fuse classical technique, regional interpretation, and experimental forms, aiming to deliver a ballet experience that is uniquely Philippine Ballet Theatre." The company is dedicated to immortalizing our heritage through ballets that will be appreciated by generations of audiences.

Highlights of the Ballet

This ballet is actually a love story but it is more than that. A few highlights from the ballet include dances that bring contemporary relevance to cultural motifs. The legend of Sarimanok belongs to the vibrant Maranao culture. This ballet includes pieces that reimagine the Singkil, the Malong, and the Aper dances, which highlight our ethnic pride. The Singkil, often regarded as a quintessential Filipino dance, showcases the grace and composure of Filipinos in every situation. The Malong dance symbolizes versatility and functionality, while the Aper, a stately dance, represents pride and good upbringing. The Sarimanok, of course, symbolizes hope and providence. The inclusion of these pieces in the ballet is meant to remind audiences that these qualities are integral to our Filipino identity and should be embraced. Jaynario seizes the opportunity by magnifying his reimaginations of the dances, thrilling audiences with technically sophisticated ballet steps infused into the traditional pieces.

                     

                      

                       

Modern Orchestration

Zarate's score in this ballet captures the temperament of the Filipino. Each track not only mirrors our traditional music but also encapsulates the essence of our national spirit. Notable musical pieces in this ballet include a celebratory fiesta track, a bayanihan track, a romantic pas de deux track, and, of course, a Sarimanok track that evokes the energy of our Filipino festivals.

A Stellar Ensemble of Artists

                         

The ballet features a talented cast of artists who bring their exceptional talents and unique interpretations to this captivating story. Jessa Tangalin and Gladys Baybayan will share the role of the mythical Sarimanok. Alternating as the romantic couple of Indarapatra and the Moon Goddess will be Matthew Davo and Gabrielle Jaynario, and Jimmy Lumba and Joni Galeste. Lastly, Dom Delmo and Justin Orande will perform the role of Sulayman.

With Sarimanok being the second full-length Filipino ballet in a row, PBT hopes to send a strong message that their commitment to creating a national influence through their art is vibrant.

Sarimanok will be showing at the Samsung Performing Arts Theater on July 6 and 7. Tickets can be purchased through Ticketworld or reserved now through Philippine Ballet Theatre by emailing secretariat@pbt.org.ph or messaging 09688708887.

Dancers' Point of View

                      

How do you feel about the role that was entrusted to you?

ELOISA JESSA TANGALIN

Sarimanok

"Sarimanok is a vibrant display of Filipino culture and storytelling, fueled by dynamic choreography set to an empowering musical score. And being given such an important role is quite the challenge, but I feel very determined to do justice to the character and the entirety of the ballet."

GLADYS BAYBAYAN

Sarimanok

"Sarimanok is my first leading role with PBT, so there's a lot of extra pressure. I want to bring to life Teacher Ron's unique choreography and Sir Paulo's captivating music. So the experience for me was both really fun and challenging. In the process, I have to focus on perfecting the steps, turns, and especially the lifts, which push me out of my comfort zone. At the same time, I have to consider how to portray Sarimanok, who is not human. I'm pushing myself to hone my artistry and show the character of a mythical bird. But even with all these challenges, I enjoyed the process of becoming 'Sarimanok'."

                                                                          

JIMMY LUMBA

RAJAH INDARAPATRA

"As an artist, I believe it is our sacred duty to safeguard our history, traditions, and stories. In this time when our younger generation is less interested and seems to overlook the significance of stories like Sarimanok, we at PBT are dedicated and committed to honoring and preserving these narratives. Because these stories are not only part of our heritage, they are the very essence of our identity. It feels good to be able to take part in such an important advocacy."

MATTHEW DAVO

RAJAH INDARAPATRA

Dancing the role of Rajah Indarapatra has given me insight into the various lifestyles and customs in Maranao culture. What makes Sarimanok so interesting is that the music and choreography are designed to showcase Maranao props, movements, and beats but still have a hint of ballet. Through this role, I've learned that true love triumphs all, including familial love, love of duty, and love for the country.

GABBIE JAYNARIO

Moon Goddess"I am deeply honored to portray a role that holds significant importance in the ballet's plot. Dancing a captivating choreography that makes you feel as if you are floating above the clouds is a once-in-a-lifetime artistic satisfaction. Through the privilege of dance, I hope to bring the same satisfaction to the audience. I am thrilled for this role and grateful to be part of a production that proudly showcases Filipino culture and tradition."

What is the symbolic meaning of the Sarimanok?

GABBY JAYNARIO

Moon Goddess

The word Sarimanok can be divided into two parts: "Sari" meaning colorful garments, and "Manok" meaning chicken. A colorful chicken symbolizes good fortune and prosperity. I believe that our culture is adorned with various symbols and cultural icons, like the Sarimanok, to reflect our Filipino values of gratitude and thankfulness. We believe that when good things come our way, it is a blessing from the heavens. And when we receive blessings, we offer them back up to the sky. Just like in the ballet, the Sarimanok is a vessel through which the Moon Goddess blesses the Prince, lifting him up to the heavens as they celebrate their love.

Ron Jaynario

Artistic Director

Sarimanok is the act of being awakened by the rooster in the morning and receiving colorful blessings from above.

3. What lessons can be learned from the Sarimanok Story?

JIMMY LUMBA

Rajah Indarapatra

It may sound cliché, but it is true - pursuing happiness often requires sacrifices. Rajah Indarapatra's love for the Moon Goddess and his decision to leave behind everything he knew, including his kingdom and family, in order to be with her is both heart-wrenching and inspiring. It makes me reflect on the courage it takes to step into the unknown, leaving behind the comfort of familiarity while facing an uncertain future. The idea of not knowing what lies ahead, but holding onto hope that everything will ultimately be alright, serves as a powerful reminder of the complexities involved in the pursuit of true happiness.

                          

Philippine Ballet Theatre's Sarimanok is Ready to Soar

Philippine Ballet Theatre, with the generous support of Philippine Airlines and the Cultural Center of the Philippines, will showcase the rich ethnic glory and diversity of the Philippines through a fusion of classical ballet, regional dances, and mythology.

The goal of the Philippine Ballet Theatre is to share the captivating tale of Sarimanok, a bird from Filipino Mindanao mythology. This mythical creature, known for its vibrant feathers and enchanting presence, takes center stage in a ballet that transcends time and culture. The ballet tells the love story between a mortal and a moon goddess, revolving around the majestic Sarimanok.

Sarimanok symbolizes hope and abundant blessings, and Philippine Ballet Theatre sees the ballet as a divine gift. Through this performance, they aim to generate interest in our cultural heritage and showcase the talent of our current artists. Sarimanok is the artistic vision of Ronilo Jaynario, the Artistic Director and Resident Choreographer, set to the original music composed by Paulo Zarate, a highly acclaimed composer. Jaynario and Zarate aspire for ballet, like Sarimanok, to become a symbol of hope and an investment in the Filipino people.

Jaynario explained, "Ibalon made a powerful impact on both the audience and the performers. It received excellent reviews and accolades that any dance company would aspire to have. Therefore, our challenge is achieving the same impact level as Sarimanok. Creating such an impact is vital to us as a company”

Inspiration for the ballet comes from the story itself, the dancers' response to my movement that enhances the process, and the music that moves me in creating the choreography. I am incredibly grateful that Paulo Zarate is composing for PBT's Sarimanok."

Jessa Tangalin and Gladys Baybayin will share the role of the mythical Sarimanok.  Alternating as the romantic couple of  Indarapatra and Moon Goddess will be Matthew Davo and Gabrielle Jaynario and Jimmy Lumba and Joni Galeste. 

With Sarimanok being the second Full-length Filipino ballet in a row, PBT hopes to send out a strong message that their commitment to creating a national influence through their art is ablaze.

Sarimanok will be showing at Samsung Performing Arts Theater on   July 6 and 7 at the Samsung Performing Arts Theatre. Tickets can be purchased through Ticketworld or reserved now through Philippine Ballet Theatre by emailing secretariat@pbt.org.ph or messaging  09688708887.

DIVERSE DANCE HERITAGE IN ONE STAGE WITH PULSO PILIPINAS: MGA LIKHANG SAYAW

Leading dance companies, groups, and artists showcase the diverse Philippine dance heritage

and present their excellence and versatility in various genres ranging from folk and indigenous,

to contemporary, hip-hop, jazz, ballroom, and classical ballet in Pulso Pilipinas: Mga Likhang

Sayaw, slated on May 23 and 24, 2024 at the Metropolitan Theater in Manila City.

Organized by the Cultural Center of the Philippines (CCP) and directed by Marciano Viri, Pulso

Pilipinas brings together the Ramon Obusan Folkloric Group, Bayanihan, The National Folk

Dance Company of the Philippines, Ballet Philippines, Alice Reyes Dance Philippines (ARDP),

Ballet Manila, Philippine Dancesport Team, The Crew, University of Santo Tomas (UST)

Salinggawi Dance Troupe, and Aljana “Cheenee” Alicia Rose Marie Limuaco in a two-night

dance festival filled with excellent artistic works that will educate, enrich, and deepen the

appreciation of dance as a form of expression.

The program emphasizes dance, and arts in general, as a unifying factor in nation-building. The

dance symbolizes the Filipino people's innate desire to express their thoughts, aspirations, and

humanity. An avenue of artistic and social expression, dance encourages collaboration across

various sectors of society.

The two-day dance event will showcase different selected dances. On the first day, the

Bayanihan, The National Folk Dance Company of the Philippines will perform People Under The

Sun, while the Philippine Dancesport Team will showcase The Matrix. Ballet Philippines brings

back Equus, and the Ballet Manila will showcase a neo-classical ballet titled Dancing to Verdi.

Catch Salom, a contemporary dance film choreographed and performed by Limuaco. The short

film won first place in WifiBody.Ph (Virtual Body) 2020.

Don’t miss the performances of Ramon Obusan Folkloric Group with Padyak; the Philippine

Dancesport Team performing The Matrix; UST Salinggawi Dance Troupe with Maiba, Taya!;

Alice Reyes Dance Philippines with Bayleng Bicolano; and The Crew with 24K Magic on the

second day.

Ticket prices for Pulso Pilipinas: Mga Likhang Sayaw are Php 500, Php 800, and Php 1,000,

available at Ticketworld and CCP Box Office.

For updates on future productions and programs of the CCP, you may follow the official CCP

social media accounts on Facebook, X, Instagram, TikTok, and YouTube.

International Dance Day Fest 2024, Unity in Movement

 

Ayala Land, Make it Makati, Circuit Makati, and the Samsung Performing Arts Theater made history by launching the first-ever four-day International Dance Day Festival in the Philippines. What makes this festival unique is its equal emphasis on various dance genres. The festival commenced on April 25, 2024, with a vibrant performance of the folk dance community, followed by an electrifying hip-hop night. On the third day, ballet enthusiasts gathered for a priceless ballet gala. The festival came to a close on April 28, 2024, with a night dedicated to contemporary dance. The event utilized a total of one thousand one hundred seventy-eight artists across the four-day event. With such a large number, it is safe to say that it was a true representation of the dance community. It is a rarity that would be a hard act to follow.

This event attracted diverse audiences who were eager to witness the talent of the dance community. With approximately two thousand five hundred attendees, the festival clearly demonstrated the demand for such programs. There is a thirst to see our talent in the spotlight. Chris Mohnani, the managing director of the host theater, accurately stated, "This pioneering event reaffirms our belief in the transformative power of the arts to unite, inspire, and uplift." The enthusiastic response from the audience indicated that dance had captured people's attention. It was unity in motion on stage and backstage.

It was thrilling to experience a sudden resurgence of artistic energy at the ballet gala last April 27, 2024. The event showcased a well-curated selection of performances that highlighted the talent and competence of the ballet community. The curtains opened, revealing the full glory of the theater with Philippine Ballet Theater's iconic piece, "Vinta", choreographed by Gener Caringal. the music filled the air and the sounds of gusty wind dominated, the audience gasped at the beautiful imagery displayed by the company. PBT looked much like the PBT of the old days, with a fleet of elegantly beautiful, statuesque, and delicate dancers exuding undeniable charm. Vinta was an awe-inspiring visual experience.

Alice Reyes Dance Philippines also made a strong statement with their performance of After Whom, choreographed by Bam Damian. In contrast to PBT's calm, they brought forth a storm of energy that captivated the audience. This piece has always been known for its technical difficulty. It was truly impressive to see the new generation of ARDP dancers rise to the occasion. They left
a lasting impression of this performance.

Ballet Philippines then took the stage with "Diyosa," a fusion of technology and dance. Choreographed by Mikhail Martynyuk, the dancers flexed their competence against strong light projections. The piece mainly focused on utilizing the body to create picturesque formations and aesthetics. Jemima Reyes who was at the forefront of the vignettes displayed meticulous articulation of the body. 

Ballet Manila closed the show with their vintage offering, Dancing to Verdi, choreographed by the late Tony Fabella. This piece was just so incredibly fast and difficult that it quickly reminded me that Fabella was ahead of his time. The footwork combination alone was not for the faint of heart. Ballet Manila's dancers remained calm and composed as they navigated the difficulty of the piece, all while wearing a classic smile on their faces. Shaira Comeros stood out with her impeccable technique and quiet elegance. The audience showed their appreciation for the many difficult steps she conquered.

Returning to the local stage was Pinoy pride, Garry Corpuz. Thanks to Hong Kong Ballet and the generosity of Elaine Forsgate Marden, our local audience had the opportunity to see Corpuz in his finest form. He performed in two numbers, partnering Quingxin Wang in Amor Volte Undique, choreographed by Septime Weber, and the Black Swan Grand Pas De Deux. Both numbers received thunderous applause. In Swan Lake, Wang showcased her extended balance in arabesque, spanning more than five seconds. She did not disappoint with her arabesque to pirouette series, occasionally even landing triples. But more than the tricks, she was delightfully sassy and charismatic. Corpuz has always displayed clean technique, but after years with Hong Kong Ballet, he now exudes the confidence of an International star. Their second number by Septime Wember was a visual treat, with lovely partnering lifts, extensions, and turns. The piece was sophisticated and simply satisfying. The Principal pair was surely the crowd favorite of the evening.

The professionals brought their A-game. But it wasn't just them who delivered. In addition to their performances, the program also featured the future of ballet with performances by Steps Dance Studio, Hope Academy of Dance, Halili Cruz School of Ballet and the Association of Ballet Academies of the Philippines. These esteemed institutions surprised the audience by presenting pieces with serious themes. The young generation demonstrated their unwavering dedication to dance through their passionate performances.

The ballet gala undoubtedly achieved tremendous success. The participating groups understood their role perfectly, ensuring that the audience experienced a diverse range of inspiring performances.  Kudos to Ayala Land and all its collaborators for drawing the attention to our artists. Investing in artists is not common but this event shows that it can be a powerful force for good. In line with the original intention of International Dance Day, the festival beautifully paid homage to dance by uniting communities through movement. It reiterated that Filipinos are special in their own right, and deserving of the world stage. 

In the scorching heat of the Philippines, the International Dance Day Festival was like a much-needed breeze. It felt like a nightcap that soothed the senses and just allowed the audience to focus on something beautiful for once. In a world where everything is a competition, a moment of friendship and unity can be just what we need to be inspired to do better. 

Dance Luminary Gener Caringal Bags Gawad CCP Para Sa Sining Award

Philippine Ballet Theatre performs Gener Caringal's " Vinta" at the International Dance Festival 2024

Dance luminary Gener Caringal has bagged this year's Gawad CCP Para Sa Sining Award for Dance. He will be recognized for his choreographic works that integrate ballet, modern dance, and folk dance  that enriches the development of Philippine Dance. Undoubtedly, this is a well-deserved recognition for Caringal. But in truth, Caringal is simply more than that. He is a jack of all trades, a multifaceted magician of an artist who can create something out of virtually nothing. He is a visionary leader who can create structures that spell out his legacy to be enjoyed by future generations. Caringal has been a household name in the dance industry for decades. He first made a mark as a dance artist when he showed his undeniable presence in Ballet Philippines and the University of the East Dance Troupe. His range of movement and fierce artistry has been captured multiple times often serving as a reference for significant ballets from the past. But what others did not know then was that his sterling dance career was only a speck of what would be his indelible mark in the dance community. Caringal was unstoppable as he nurtured all of his skill sets through the years and took on paths not many would have taken. Instead of pursuing commercially rewarding projects, he created passion projects that would become stepping stones for bigger things.

As a choreographer, he was one of the brave people who gambled and created full Filipino ballets. For Philippine Ballet Theater alone he has crafted four major ballets including "Andres", "Darangen ni Bantugen, " Bagong Bituin, and "Galleon". It takes a village to create a full-length ballet because of the massive work behind it. The risk of criticism is also sky-high because the local audience is familiar with the themes. However, Caringal believed in the importance of educating audiences about our heritage so he braved the challenges and the storms to produce ballets that will resonate. This is in addition to the massive body of work he created capturing the essence of the Filipinos. Caringal's work has been performed by major companies like Philippine Ballet Theatre, Ballet Philippines, University of the East, and of course the now defunct Gener Caringal Dance Repertory. His pieces have remained timeless classics that would be constants in the company repertoire. His well applauded Vinta created in 1989 was just performed by PBT at the recent International Dance Festival hosted by Samsung Performing Arts Theatre. This piece has been a constant in the Company's repertoire for thirty-five years. Ang Sultan created in 1979 was performed by Ballet Philippines and Philippine Ballet Theatre several times and each time it would always be a meaningful piece that never disappointed.

As a leader in the dance community, he has ensured that he created structures and repertoires that would be nation-building. As Artistic director of various companies(PBT, BP II UE, PNB Dance Group, Yeh Shian Folk ballet, Gener Caringal Dance Repertory) he made sure to support other Filipino choreographers. He made sure every season had something innately Filipino. He pursued international tours for the various groups that he handled. He was the head of the National Committee on Dance of the National Commission for Culture and the Arts and spearheaded massive regional dance education projects utilizing local dance talents from all over the Philippines. He would also always move projects with the spirit of real collaboration, honoring all artists who joined his project and allowing them to shine in their own way. This is why in his years of service to the dance community he was recognized many times. His awards include Patnubay ng Sining at Kalinangan, 1997; the Distinguished Achievement Award from UE, 2006; the Diwa ng Lahi Award from the City of Manila, 2018; and the C-MAP National Award for Choreography from C-MAP Choreographers Festival Internationale, 2019 and now the prestigious Gawad CCP Award. The Gawad CCP Para Sa Sining is the highest award given by CCP to artists or groups of artists in dance, music, theater, film and broadcast arts, literature, visual arts, architecture, and allied arts and design who have/have consistently produced outstanding works in their particular art form or have/had evolved a distinct style or technique that enriches the development of their particular art form. This so far is his most prestigious of accomplishments. It would come as no surprise if he is nominated as National Artist for Dance soon. Caringal along with the other awardees will be recognized publicly on September 20, 2024, at the Samsung Performing Arts Theater. The awardees will receive a citation, a medal, and a cash gift of Php50,000 (for living awardees). The other awardees who will join him on awards night are as follows. 

• IÑIGO HOMER “JOEY” AYALA, cited for his works as a composer, songwriter, and singer
• MARIA LEA CARMEN SALONGA, for her unparalleled achievements as a performing artist who has been recognized both nationally and internationally, putting the Philippines on the global theater map. 
• JOSE LACABA JR, for his outstanding works as a poet, essayist, screenwriter, and journalist, contributing to the development of Philippine literature. 
• MIGUEL “MIKE” DE LEON, for his outstanding works as director, writer, producer, and cinematographer, enabling the advancement of filmmaking in the Philippines. 
• MARIO O’HARA (posthumous), for his outstanding work as a director, actor, and writer that enriched the development of film and broadcast arts in the country. 
• JULIE LLUCH, for her terracotta sculptures that mirror and reflect the wisdom she had acquired as she took on different life roles, initiating a resurgence in artmaking in the Philippines. 
• GINO GONZALES, or his use of non-conventional and everyday industrial and commercial materials, experiments with space, as well as his promotion of the Philippine Terno. 
• LOBOC CHILDREN’S CHOIR for their performances that promote the heritage of Bohol and show the significance of using and preserving local heritage. 
• MARILYN GAMBOA for her outstanding contributions as a cultural administrator that have helped sustain cultural institutions and programs in Negros Occidental.
•  SEN. EDGARDO J. ANGARA and ZENAIDA “NEDY” R. TANTOCO will receive posthumously the Tanging Parangal ng CCP.