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.

Review: In Limang Daan; Ballet Philippines Takes a Step Backwards (Republished from Theatrefansmanila)

Photo by Larry Salgado 

Original Article from TheatreFansManila Link 

After being in the art scene for fifty-four years, Ballet Philippines (BP) has made a significant impact by presenting profound representations of women. In the 1970s, they showcased National Artist Alice Reyes’ Amada, which depicted women defying oppressive social expectations. In the 1990s, they presented National Artist Agnes Locsin’s Encantada, portraying women as vessels of power, healing, love, and faith, showcasing their ability to reclaim control of the Earth. More recently, Ballet Philippines’ own Gia Gequinto created solo works that exalted women, such as “Sun Down,” which portrayed them as resilient beings capable of enduring life’s trials while emanating beauty. Other performances, like Salome by Agnes Locsin, That’s My Life by Alden Lugnasin, and Mama by Ronelson Yadao, have contributed to a rich collection of pro-woman, pro-equality, and feminist pieces over the company’s history.

A Step Backward

However, whatever BP has done to empower women was dimmed greatly by their newest production. Limang Daan, Ballet Philippines’ latest production, feels like a step backward. Described as a full-length piece that explores “…the struggles of Filipino women through a time-bending narrative spanning approximately 500 years”, it promised to offer a feminist perspective on events that have influenced the nation. Premiering on March 8, 2024, International Women’s Day, the show’s timing raised my expectations for a profound examination of women’s plight, consistent with the company’s previous works. Feminism has evolved and tackled various layers of oppression and inequality throughout the years. Hence, I anticipated a social commentary that would depict the complex journey of the modern woman. Sadly, Limang Daan did not fulfill this hope. Rather than an empowering ending, it showcased women trapped in a harrowing limbo of oppression and inequality, resembling damsels in distress.

Damsels in Distress

The multiverse story begins with Ana, a present-day Filipino OFW nurse burdened by an exhausting workload and subjected to sexual advances from a superior. Regine Magbitang, who plays Ana, frantically navigates her surroundings. She uses the stairs, perpetually repeating the same actions as if trapped on an infinite flight. When her oppressor gropes her, she reacts but does not defend herself. She distances herself but refrains from speaking out. Ultimately, she becomes overwhelmed by the demands imposed upon her. Considering all that women have achieved and struggled against over the past five hundred years, it is disheartening to witness present-day life still grappling with the objectification of women as the primary focus of women’s struggles. This narrative resembles the Padre Damaso era in which powerful individuals exerted control over women’s bodies. While stories like this still prevail, I believe the struggles of women today differ greatly and deserve better representation.

In the second vignette, we witness a striking parallel to the Spanish invasion, where they showered the indigenous people with technological advancements, education, and the promise of salvation. Eduardson Evangelio’s portrayal of the non-binary Babaylan Amihan embodies resistance against the gifts of colonization, while the choreography depicted all the women succumbing to the Spanish gifts without hesitation. However, evidence suggests there was resistance, as demonstrated by the war fought to defend our land and heritage. While I could recognize the oppression through colonization in this section, I still struggled to identify the feminist point of view. This was a collective experience in our history, not exclusive to women.

The most perplexing of all storylines was the portrayal of the St. Louis Human Exhibition. Gawani played by Gia Gequinto was an Igorot “forced” to participate in the human zoo. To begin with, the choreography was a collection of mimes and theatrics with Artistic Director Mikhail Martynyuk spending at least three minutes of the show walking around with a vintage camera and a Philippine exhibit sign. In the scene, the Igorots were made to take pictures with the Americans. When one tries to touch Gawani, she resists in complete anger. She then performs an anguished solo to her death. From the audience’s point of view, it was hard to understand why the reaction was so massive. 

The exhibition in St. Louis represented more than just the “male gaze” towards Gawani or the derogatory concept of Filipinos being viewed as an exotic exhibit.

It is important to note that the exhibit covered more ground than just the Igorots. They presented distorted perspectives of our Philippine civilization from Luzon, Visayas, and Mindanao (along with other nationalities), recreating villages to conform to the white man’s narrative as they displayed their newly acquired territory. In history, the exhibit was created as a celebration of colonization. It was a display of game winnings that the US acquired in the guise of archeological educational goals. They used the exhibit to showcase the superiority of the Americans allegedly resulting in many racist reactions and oppressive activities. Historical records indicate that the Americans recruited, paid, and educated Filipinos during the seven months that the exhibit took place.  Despite the troublesome experience, it also caused the migration of Filipinos because they were fed the concept of American superiority. 

While Gawani’s choreographed solo effectively conveyed the piercing pain caused by the brutality of the Americans, BP’s storytelling trivialized this significant moment in history. 

The St. Louis exhibit scene, presented by BP, reduced this historical context to a demeaning photoshoot without properly addressing the multifaceted layers of this pivotal moment. The production overlooks the Filipino participants’ varied experiences. Moreover, this was not solely an attack on women but on all Filipinos.

The fourth vignette revolves around the famous literary characters Maria Clara and Ibarra from Noli Me Tangere. The librettist’s notes reveal everything: “Maria Clara… Sexy but repressed, strong-willed but in dire need of saving, by a man of course.” In this ballet, women are never portrayed as independent forces. Due to Catholic patriarchy, Maria Clara ends up in the convent, trapped in her misery, in her hell. Adding to the demise of the woman is the character of the Mother Superior, who unnecessarily depicts a woman of faith inflicting violence on other women. Women against women, cloaked in Catholicism.

The last vignette is about the Chico Dam. Kalinga women Petra, Edena, and Leticia try to protect their land and their people from the dams that were created (and are still trying to be created) without their consent. This is the only section that reflects the activism of the woman.

Limang Daan’s narrative had the potential to be a powerful reflection on the evolution of feminism and women’s rights in the Philippines. Feminism essentially involves recognizing the strength of women and allowing the rest of the world to see it in its glory. While I see the intention of the renowned writer Moira Lang, it simply did not translate onto the stage.

Confused Choreography 

Mikhail Martynyuk’s choreography seemed as confused as the storylines. The production was dubbed a Filipino modern ballet, allowing for certain flexibilities. However, there was nothing that grounded the choreography as a cohesive whole. In many pieces, there was no semblance of anything recognizably Filipino. For instance, take the pas de deux of Maria Clara and Ibarra. While the dancing was beautiful, changing their costumes to tutus wouldn’t have made any difference.

In contrast, there were sparingly golden moments, such as Gia Gequinto’s solo and the piece featuring the Kalinga women, where you could see the texture and nuances. The multiverse, where the five characters interacted in time-bending moments, was especially confusing because it would randomly happen without careful storytelling transitions. The choreography would also shift in genre from pure classical ballet to contemporary, which was disturbing.

Librettos with such a heavy scope cannot be created hastily. Capturing five hundred years was too ambitious. Perhaps with more time, the choreography could have come together.

Brilliant Dancers

Nevertheless, the dancers prevailed. Regine Magbitang as Anna displayed athleticism and mastery of contemporary technique. Jemima Reyes was effervescent as Maria Clara, leaping across the stage with lightness and grace. Her dependable classical technique was in full display. Ian Ocampo as Ibarra was suave and wowed the audience with his technically difficult barrel turn and tour series. Gia Gequinto was dripping with emotion as Gawani. Her air time was the most stirring in the two-hour ballet. Nicole Barosso, Clarise Miranda, and Danielle Kleiner as Kalinga Women were standouts. Their performance was like a breath of fresh air. They captivated the audience with their undeniable presence and their meticulous footwork. I recognize the dancers’ work and their full commitment to embodying the Filipino spirit.

A Different Company

“Ballet Philippines has always possessed a strong and refined voice, effectively representing Filipinos through choreography for five decades. The company has utilized the stage as a powerful platform for change and integrity. However, this essence was regrettably absent in Limang Daan.  I could no longer see traces of the old Ballet Philippines. 

The company’s essence was never solely about showcasing strong dancers or garnering applause. It was rooted in a deep care for the Filipino narrative and the Filipino dancer. This production left a lot of questions. While it paved the way for a lot of conversations, it was not about the plight of women nor our oppressive history but about how the company’s shine has been tarnished. Whatever identity BP may have had before, it no longer exists. 

 

Tickets: P1,500, P1,200

Show Dates: March 8-10, 2024

Venue: Solaire Theater

Running Time: 2.0 Hours

Credits: 

Artistic Director: Mikhail Martynyuk 

Choreography/ Set Creatives: Mikhail Martynyuk 

Assistant Choreographer: Gia Gequinto 

Librettist : Moira Lang

Composer: Erwin Romulo 

Co-Composer: Malek Lopez

Vocals/Chants: Carol Bello Dawonlay 

Costume Designer: Jc Buendia

Featured Cast: 

Maria Clara- Jemima Reyes 

Ibarra- Ian Ocampo

Ana- Regina Magbitang 

Petra- Nicole Barroso/ I Idella Buhia

Edena- Clarise Miranda

Leticia- Danielle Kleiner

Mother Superior- Ramona Yusay

Amihan- Eduardson Evangelio

REVIEW: Ballet Manila's Reimagined ‘Le Corsaire’ Lets Principals Shine (Archive)

 

REVIEW: Ballet Manila's Reimagined ‘Le Corsaire’ Lets Principals Shine

 (Republished from Theaterfansmanila)

Excerpt: This Ballet Manila production, reimagined by Lisa Macuja Elizalde, is a resounding success, re-establishing the company as a strong contender in the classics.

Lisa Macuja Elizalde often uses the phrases, “from page to stage” or “from book to ballet.” These clever phrases adequately reflect what Ballet Manila is trying to do with its 2024 season. 

They opened with the story ballet Le Corsaire, loosely based on Lord Byron’s poem “The Corsaire,” which has inspired numerous ballet adaptations since its premiere in May 1858. While Joseph Mazilier created the original staging, Marius Petipa's revivals introduced new elements to the ballet. 166 years later, ballet companies are still coming up with new restagings of this ballet, simply because of its exciting plot that allows for a lot of artistic liberties. 

Ballet Manila was the first ballet company to stage Le Corsaire in Asia in 1998. Since then, they have faithfully staged the Russian version and libretto eight times, much to the delight of their loyal audience. But this year, Artistic Director Lisa Macuja Elizalde opted to present a reimagined ballet. 

Archaic Ballet 

Briefly, Le Corsaire follows Conrad, a pirate who falls in love with Medora, sold to a wealthy Pasha as a slave. He and his crew embark on a journey to rescue her, facing obstacles from villains Lankadem and Birbanto.

In all honesty, the story of Le Corsaire is the most archaic and sexist of all the story ballets. It’s a story that does not reflect the current times and depicts women in the worst light, perpetuating their objectification and commodification. The opening scene says it all: Lankadem (slave seller) presents his fleet of women and puts a price on each one. 

The ballet shows a narrative that women need to be saved over and over again, coupled with instances of violence and deceit. Everyone who has seen the ballet knows that the storyline appears irreparably flawed, but kudos to those who try to make it more appropriate for modern audiences. 

The Old and the New

After much thought and research, some of the changes that Lisa Macuja Elizalde implemented in this version were similar to earlier stagings of the ballet. Just like her version, there was no shipwreck prologue. The omission of this prologue leaves a void in understanding the nature of Conrad and Medora's relationship. Without it, the presence of pirates in a settled town remains puzzling, as pirates are typically nomadic. 

The characters of Gulnara and Medora are Pasha’s possessions but Pasha chose Medora over Gulnara to be his wife. In Ballet Manila’s newest version, Gulnara (who is seen in the first act as distraught at the thought of being sold to Pasha) falls in love with Pasha and tricks him into marrying her. While consistent with earlier versions, Gulnara's declaration of love seems improbable. It's hard to swallow that Gulnara–one of Pasha’s slaves–would shift so easily from a sad slave to a scheming lover. I found it difficult to believe Pasha could be deceived, especially considering the casting. It seemed improbable that he would mistake the petite Shaira Comeros for the statuesque Abigail Oliveiro on such a significant occasion as his wedding. The mere addition of a veil was all it took to persuade him.

In Ballet Manila’s new version, Act 1 was just filled with aesthetically pleasing scenes. Medora, played by Oliveiro, emerged from a beautiful balcony. Conrad, played by Mark Sumaylo, reached out to her and the couple looked like something from a fashion magazine. Oliveiro was dazzling with her white tutu glittering under the spotlight. Sumaylo looked every bit the lead. 

In this rendition, the iconic portrayal of Medora on a platform as a woman being sold, along with the Palestinian and Arabian dances, was omitted. I consider this a commendable decision. Instead, these were replaced by the odalisques, one of the most awaited segments of the ballet.

The climactic showdown between Birbanto and Conrad culminated in a riveting spectacle, punctuated by the thunderous echo of gunshots piercing the air. As Birbanto fell lifeless and Ali lay injured, the audience held their breath. The scene concluded poignantly as Medora and Conrad set sail into the sunset, accompanied by Ali and the remaining pirates.

The final fight scene between Birbanto and Conrad culminated with dramatic gunshots piercing the air. The audience held its breath as Birbanto fell lifeless and Ali lay injured. The scene concluded with Medora and Conrad setting sail into the sunset, accompanied by Ali and the remaining pirates.

The earlier versions of Le Corsaire end with a glorious visual of a shipwreck. This version follows this line of thought and ends it with a beautiful pas de deux showing Medora and Conrad conquering love against a backdrop of the sun setting. Although the pas de deux was particularly lovely, I couldn't shake off a sense of unease as the curtains fell. While audiences typically relish a satisfying conclusion, this one felt rather grim. The couple lost their friends (including Ali, historically Le Corsair’s poster boy) and all their treasures, leaving them without a home. Upon reflection, it becomes apparent that the story actually ends in tragedy.

Technical Demands 

The technical demands of this ballet were very high. With two principal pairs and six soloist roles, the inventory of difficult steps was like a full buffet of tricks. As an audience member appreciative of the skill required, I found myself fervently rooting for the dancers as they gracefully interpreted the music. Ballet Manila's Principals and Soloists executed their roles flawlessly, exuding an inspiring sense of composure that filled me with pride. Their performance was deserving of the spotlight.

The curtains rose to reveal Lankadem played by Noah Esplana who just electrified the audience with a sure-footed pirouette with six revolutions. To make it even better, he repeats it, performing another impressive quintuple pirouette. This author sat a little straighter and clutched her camera tightly, ready for his next move. His charisma was undeniable. 

Based on his debut, he shows promising potential to become a true star. While his execution of jumps and turns could use more precision and clarity, there were moments of brilliance that ignited excitement. Despite occasional instances of floppy footwork, his performance left me intrigued. I'm eager to follow his journey and see how he progresses in future roles.

Back in 2013, Mark Sumaylo debuted as Conrad in Le Corsaire and even then, Sumaylo showed that he had everything he needed to be a star. In this production, he was confident and carefree with the maturity of a seasoned Principal dancer. He now has the clarity of movement and mime. His partnering skills are also something to commend because he consistently enhances the performances of his female counterparts.

Oliveiro, portraying his love interest, played a pivotal role in the ballet's success. She had a sophisticated exuberance that drew the audience’s attention. Balancing elegance with energy is a delicate task, yet she managed it effortlessly, delivering a performance that was a sheer delight. Despite the very technical choreography that requires a dancer to reel in the emotion, she danced with complete joy and emotional involvement in every scene. Her extensions were elongated and her epaulement and epaule (shoulder and arm twists while doing extensions) were luxurious. Her sustained balances were thrilling and ultimately satisfying to watch. Her joyful leaps  evoked smiles and a sense of flight, as if we were soaring alongside her.

Joshua Enciso portrayed the role of Ali with notable proficiency, quickly capturing the attention of balletomanes with his more polished dancing.Shaira Comeros as Gulnara had the emotional mettle to stir a crowd. Her unwavering portrayal of the tearful woman being sold off was piercing. Her movements were so centered that even when she changed the flow or step it would remain undetected by an untrained eye. She was every bit a Principal dancer– calm, composed, and seamless.  

Soloists Pia Dames, Pearl Dames, and Jessa Balote performing the odalisque were meticulously clean.  Romeo Peralta and Rissa Camaclang as Birbanto and Birbanto’s mistress were convincing in both movement and character. Pasha, played by Gerardo Franciso, tickled everyone with his humor, which made me wish that he and Esplana had more comedic moments. 

Back to Classic

The primary challenge in reimagining Le Corsaire lay in its problematic narrative, but this ballet was never really about loving the storyline. Rather, it thrives on the exhilarating choreography and captivating dramatics. In this regard, Ballet Manila's production stands as a resounding success, re-establishing the company as a strong contender in the classics. Their soloists and corps de ballet elevate every visit to the theater, showcasing a level of excellence to their audiences in every performance.

 

Tickets: P1,500, P1,200

Show Dates: February 24-25, March 3

Venue: Aliw Theater

Running Time: 2.5 Hours

Credits: 

Artistic Director: Lisa Macuja Elizalde 

Retelling: Lisa Macuja Elizalde 

Choreography: Marius Petipa

Cast: 

Conrad : Mark  Sumaylo

Medora : Abigail Oliveiro

Lankadem : Noah Esplana

Gulnare : Shaira Comeros 

Ali: Joshua Enciso 

Pasha : Gerardo Francisco

Odalisques: Pia Dames, Pearl Dames, Jessa Balote

PBT is ablaze

 

The Philippine Ballet Theatre's triumph over daunting obstacles is a celebration of the company; resolute spirit that continues the revolutionary fighting spirit of its founders. Bold, Brave, and Beautiful, the company and all the people behind it, continue to dream and fight to strive to see their dreams come to reality. 

 In 2023, the Company celebrated its dramatic emergence from the pandemic. With the revolutionary fighting spirit of the Company and the solid vision of Artistic Director Ronilo Jaynario, the company proved that they have stayed at the forefront of the industry. They closed the season with a warmly embraced full Filipino ballet “Ibalon”, an electric tour in the United States of America and their crowd favorite, “The  Nutcracker”. This 2024, their journey continues as they prepare to take flight.

The Philippine Ballet Theatre proudly announces its vibrant 38^th season. This season, PBT embraces the theme “Ablaze”. They begin the season with another brand new Filipino ballet “Sarimanok”. This ballet is ready to soar unveiling the beautiful tapestry of our culture.

“Sarimanok” is a dance of culture and myth. “Sarimanok” is a bird in Filipino Mindanao mythology. The magical bird with its majestic colors is the center of a love story between a mortal and a moon goddess. This mythical creature, renowned for its vibrant feathers and captivating presence, takes center stage in a ballet that transcends the boundaries of time and culture. The ballet will be choreographed by the same creative team of “Ibalon”. Artistic Director Ronilo Jaynario will be choreographing the ballet with the music of Paulo Zarate. It is slated to premiere in early July.

 

 

“Music in Motion”, PBT’s second offering will be a mixed bill program of neoclassical works by artistic director Ronilo Jaynario with the music of maestro Raul Sunico. It will be a blend of familiar Filipino music brought to life through the Philippine Ballet Theatre’s exquisite dancing. A flurry of emotions and diverse movements all packed in one show. In a dinner and dance format, this season offering is set to be performed sometime in September.

PBT will end their season with their crowd-pleaser. “Nutcracker” is a tradition that is hard to resist. It not only serves as a ballet that ushers in the holiday spirit, but it also serves as PBT’s advocacy project. With a cast of 100 dancers, it can educate young dancers from different schools regarding the remarkable discipline of ballet.

 

With a renewed passion for their advocacy, PBT will try to keep their fire burning for their advocacies. As of date, they are scheduled to go on a local tour including  Legaspi, Bicol, and Bacolod. The number of tour dates is increasing in number as we speak. The Company is also scheduled to go on an international tour this coming October to select cities in the United States of America.

Much has been accomplished but more is to be achieved. PBT is excited to engage with a wider range of audiences this 2024.

PBT will end their season with their crowd-pleaser. “Nutcracker” is a tradition that is hard to resist. It not only serves as a ballet that ushers in the holiday spirit, it also serves as PBT’s advocacy project. With a cast of 100 dancers, it is able to educate young dancers from different schools regarding the remarkable discipline of ballet.

With a renewed passion for their advocacy, PBT will try to keep their fire burning for their advocacies. As of date, they are scheduled to go on a local tour including  Legaspi, Bicol, and Bacolod. The number of tour dates is increasing in number as we speak. The Company is also scheduled to go on an international tour this coming October to select cities in the United States of America.

Much has been accomplished but more is to be achieved. PBT is excited to engage with a wider range of audiences this 2024.