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.

Ballet Manila is Hard at Work

 

It's full speed ahead for Ballet Manila. While most ballet companies program three to four major ballet shows in a season, BM has opted to fill its entire calendar with something big every month. Their season is a full buffet, with something to entice all audiences.  

Reworked and Reborn

They begin their season with a reworked, choreographed, and refreshed version of Le Corsaire. Le Corsaire has always been a permanent fixture in  Ballet Manila's history. It has proven to be one of their best offerings showcasing their dancers' technical ability with the numerous soloist roles available.  Artistic Director Lisa Macuja-Elizalde shared, " For me, the main draw and importance  of staging  a Le Corsaire si the fact that there are many principal characters  that all have their respective times to shine and show off technical and virtuosic feats as the ballet unfolds" 

Currently, there is a healthy number of dancers to showcase. Macuja- Elizalde, has dealt with this ballet so many times that she felt, she had an opportunity to improve the storytelling aspect of the ballet. While the major balletic highlights will remain the same,  the setting up of the scenes was choreographed to give more depth and logic to the sequence of events.  Le Corsaire is a comical ballet about a pirate freeing his loved one from the hands of slavery. The role of Conrad will be shared by Mark Sumaylo and Romeo Peralta. Medora will be performed by Abigail Oliveiro and Pia Dames. Gulnare will be performed by Pearl Dames and Shaira Comeros. Lastly, Lankadem will be shared by Noah Esplanada and Alvin Dictado. Curtains will rise on February 24 and 25, 202 at their homebase Aliw Theatre. 

From Book to Ballet 

Ballet Manila has always believed in book-to-ballet performances. The company sees this as their advocacy project, ensuring younger generations would be reminded of old Filipino stories that speak of values.  Based on Christine Bellen's retelling of Severino Reyes' stories, BM will restage Ang Tatlong Kwento ni Lola Basyang this coming May 2024. Joining the cast will be  Mitch Valdez who will be playing the role of Lola Basyang. Valdez who is a well-known comedian promised to stay true to the restaging honoring what was written for her. However, she did say she wanted to really learn the material so that she could also pepper it with her own stylings that would highlight the stories. 

Glorious Giselle 

Giselle is the ultimate white ballet. For this particular author, Giselle is Ballet Manila's strongest weapon. They have always nailed this ballet leaving audiences in awe. It would be interesting to see how they deal with the challenge of doing this ballet with a completely new fleet of dancers. 

Ending with a Bang

The last quarter of the year is really the busiest for all the ballet companies. But  Ballet Manila has outdone itself with three productions for every month of quarter four of 2024.   A brand new premier of a Filipino ballet by collaborating choreographers Gerardo Francisco and Martin Lawrence will come alive in Aliw Theatre. They will be presenting the Filipino literary classic "Florante at Laura". As of date, the libretto has already been completed and choreography will begin very soon. It will premiere on October 12, 2024. 

Following right after would be their Arete Season. Gerardo Francisco's  "Ibong Adarna" in November 2024. In compliance with their partnership with Ateneo Arete, Ballet Manila will share their widely appreciated ballet with new audiences. 

Christmas won't be the same without a heart-warming ballet, so ending the season would be Lisa Macuja- Elizalde's very own "Snow White". On the side of course is their weekly performance  In Star City. 

This is a very ambitious calendar for Ballet Manila but this is a lineup that will surely excite existing audiences. It will certainly bring in new audiences. If they are successful in their stagings, it will bring new appreciation for the ballet, Filipino talent, and Filipino material. 

Ballet Manila Debut

It is also important to note that  Ballet Manila is strengthening its workforce. Joining their roster of dancers are the Andes family dancers. David, Daniel, Ana, and Graciella  Andes. They will debut in Ballet Manila in Le Corsaire. Meanwhile. returning to the fold is Raphael Perez who will be joining the company in March. It's always a thrill to see new dancers begin their careers with a Company. I'm excited to see what they can offer. 

Cultural Center of the Philippines Plot Twists Circa 2024

 

Breaking the tradition of having the CCP institutional press conference in a walled venue, the CCP Management led by CCP Vice Chair Margie Moran Floirendo, President Nikki Junia, and Artistic Director Dennis Marasigan, welcomed the press in the CCP Liwasang Kalikasan. With the organic aesthetic designed by Eric Cruz, it really set the tone. The CCP is not confined to any space.

In preparation for the 50th Anniversary of the Cultural Center of the Philippines, a promising blueprint for CCP Manila Arts Center was presented to the public. A massive upgrade, meant to elevate our cultural site into something that could rival the structures of Marina Bay Sands, was presented to the public. The glow-up of the complex included more rehearsal space to be able to possibly house some of the CCP resident companies,  additional black box theaters, galleries, and a commercial area. It was a glorious structure that could help promote the arts, and at the same time make the CCP a more financially rewarding complex. More facilities means more activities can be done simultaneously. This of course also included repair and maintenance of the existing CCP. However, just like the COVID-19 pandemic, another life-threatening event happened at the CCP. The 2018 building audit findings were slowly being addressed through 2019. In 2020 with the doors of the building closed, it allowed management to do a more extensive look.

With this was the realization that there was a need to fix the heart of the complex first. When asked if the CCP glow-up was ever gonna happen, CCP Artistic Director Dennis Marasigan answered "Never say never". He explained that this project already had the green light and prior budgetary approval from the government. With a firm resolve to pursue the dream of an upgraded CCP the dynamic duo President Nikki Junio and Artistic Director, Dennis Marasigan vowed they will continue to fight for it. For now, the CCP will have to, by hook or by crook, deliver a refreshed CCP by January of 2026. The complex is tentatively booked for the ASEAN summit. Project repair as of date is at a 30% completion rate.

CCP Vice Chair Margie Moran Floirendo

                                   

But in their most challenging period yet, post-pandemic with no facilities, expectations of people about CCP's performance are relatively lower. Thankfully the CCP management is made of visionaries and for them, to over-achieve is the name of the game. Marasigan stated CCP's ultimate goals for 2024. " For 2024, we hope to reach over 200,000 onsite viewers and engage over 6,000 artists. For our workshops, we hope they can benefit 16,000 participants". The CCP's first sortie opening the Cultural season was “Pasinaya” the annual multi-art festival. With the solid battle cry "Sulong!", it charged on surpassing the 2023 audience count by 37% percent. nearing pre-pandemic numbers even with the absence of the Main Theatre (1800 capacity) and the Little  Theater (413 capacity) which provide massive numbers for the festival. With a month and four days in they are already at a 25% accomplishment rate of on-site audience count at 50,632 with combined Facebook video views of 100,000 as of date. More importantly, the Pasinaya crossed borders and went as far as Tagum and Iloilo with the help of local government units. If this bold effort is any indication of the rest of 2024, then it's going to be an explosion of art in the digital and physical spaces. 

The plot twist of the pandemic and building audit results provided obstacles but it pushed for maximum creativity and resourcefulness of the CCP Management Team. But just like any Filipino teleserye, the plot twists will keep on coming. Now the question is will this end up sweet or salty. The press conference was a chance to address the swirling rumors regarding the recent announcement of the Cultural Center of the Philippines regarding the applications for the National Performing Arts Companies. This CCP project is in compliance with Republic Act No. 11392 which is a law that seeks to cultivate national talent and raise national and cultural awareness. NPAC will accredit five major companies in the disciplines of theater, dance, orchestra, chorale, and indigenous practices. As explained by Marasigan, apart from the main five companies three other companies per discipline can be granted subsidies.

The question dropped during the press conference was "Does this replace or eradicate the current status of the CCP resident companies?". Marasigan answered curtly that the NPAC would make the CCP residency duplicative. While the likelihood that the CCP resident companies will be able to secure the accreditation is higher, there is surely no guarantee. It is important to note that historically CCP had nine resident companies. We are now down to seven. Basis this, another two will lose their slot (or be demoted). The NPAC will open up the competition which almost always leads to progress and opportunity. However, it may affect the sustainability of companies that have historically proven their capacity and worth. It may also tarnish and diminish the cultural relevance of those who will be demoted or canceled. It launches a Game of Thrones season of artists fighting for national standing. Artists against artists. Problematic? I believe so.  However, I also believe that the CCP will be able to navigate the application of this law in an artist-friendly manner. They are artists themselves after all. Meanwhile, Marasigan explained the application will be closed in March and evaluated closely. He expects an announcement mid-year. Meanwhile, everything that was promised to the resident companies will be provided for the year. Let's wait and see how things pan out.

Artistic Director Dennis Marasigan 

One thing is for sure, the CCP is buzzing with energy. Aside from the output expected from the CCP resident companies, Marasigan said they intend to produce 765 events, ranging from performances, screenings, exhibits, and workshops both onsite, off-site, and online. The Virgin Labfest, Cinemalaya, and Balangaw will be reloaded and expanded. Digital access will be enhanced including possible partnerships with free TV. Arts education will be leveled up. Junia promised" The CCP has been doing outreach programs in the last 40 years, but we are intensifying them, creating new partners with LGUs and cultural organizations, collaborating with as many artists as we can, and producing shows in alternative venues across the country. "

CCP President Nikki Junia 

The CCP is fired up and for the lack of better words, wants to take up space!. Their 2024 season aims to break even more boundaries. CCP is ready to forge ahead, ready to promote and protect the creative spirit of the Filipinos. Borrowing their Pasinaya battlecry, Sulong Pilipino, Sulong!

Sulong Pasinaya Sulong!

 

  Following the theme “Sulong,” the country’s largest multi-arts festival returns on a grander scale with more artistic and cultural offerings in its 20th year. Established in 2005, Pasinaya was conceived as a jump start to the National Arts Month celebration; hence it is scheduled every first week of February. Originally, it was created as a preview for the CCP’s artistic programming for the year. But the festival has grown bigger over the years and has become a venue for art appreciation and education, networking, and collaborations.  It has now grown into a multi-faceted program covering, free workshops, a massive offering of shows, exhibits, and an art market networking activities to promote artists of different kinds. What makes it different this year is its expansion to the Visayas and Mindanao region. Unified in its goals the multi-arts festival will commence simultaneously with opportunities to cross-connect via live streaming of shows from Manila to  Iloilo and Davao and vice versa. This ambitious attempt happening on February 3 and 4 will be a historical first for the Cultural Center of the Philippines.

Dancing their way to the stages are resident ballet companies Philippine Ballet Theatre and Ballet Philippines who will go all Filipino in theme.  Philippine Ballet Theater will offer its charming suite of dances with music from Jose Mari Chan. Ballet Philippines will present its contemporary art piece Diyosa. Alice Reyes Dance Company will follow suit and perform excerpts from Rama Hari. Reflective of the seemingly robust commitment to present works that cultivate national pride and more importantly interest in our roots.  It feels good to know that these companies made a choice to feature something inspired by their own heritage and history. Catch them at the Tanghalang Ignacio Gimenez (TIG) Blackbox Theatre. Stay connected to the official CCP Facebook page to see more details about schedules and venues.

Photo by Athena Fontamillas

With these companies are more than a hundred different groups showcasing their own art.  In 2023, audience counts reached 37,888 – 12,055 participated in 43 Palihan workshops, 24,482 watched 101 Palabas shows (58 at the CCP Complex, and 43 in partner museums/galleries), and 1,236 enjoyed the Paseo Museo tours in 13 museums and galleries. Total donations amounted to Php 253,514. With the expanded reach, CCP aims to destroy this already impressive record. “Breaking free from the common notion that CCP is just the building in 2023, we have continuously proved that we can be anywhere. This year, we are reaching farther and wider into different performing spaces, and into the regions. Year 2024 will be the year we, at the CCP, continue to move forward, despite the challenges that will come our way,” said CCP president Michelle Nikki Junia. I have no doubt that Pasinaya will help bridge the gap between audiences and artists in a fabulous way. No reason to stay home . See you all at the CCP complex. 

Dancer Diaspora Holiday Edition

 

The Holiday Season has always been a busy time for ballet dancers all over the globe. It is a timeless tradition for most companies to have a universal explosion of Nutcracker performances. By itself, this has brought so much joy to so many families. The past month, however, has highlighted something special, unique, and at the same time bittersweet. All over the world, Filipinos claimed the titular roles of the holiday classic. While there have been many Filipinos who have danced a gazillion Nutcrackers, this one stands out because it emphasizes the reality of the consequences of the dancer diaspora. Through the years, for one reason or another, our local artists have chosen to run after glossy dreams of being an international ballet artist. But this last decade, I believe trumps the Disney dancer migration we encountered in the early 2000s. It didn’t start from the pandemic, however it was the last straw did practically pushed the dancers out of the country because of the loss of opportunities here. The sheer number of dancers the Philippines lost was astounding.  A conservative estimate would be around ten homegrown dancers flying off to different parts of the world. While it highlights that there are many reasons for dancers here to want a life outside the Philippines, it also highlights that there is an appetite for the kind of magical dancing the Filipinos can offer. Our homegrown dancers stood tall and claimed significant roles in the Nutcracker. While I miss seeing these dancers perform here in our local theaters, it fills me with pride to see them enjoying the global limelight. They certainly are collectively giving the Philippines a good name. 

Mikaela Santos Photography By Erica Marquez Jacinto 

The top of the list has to be Mikaela Santos. This beautiful ballerina began her ballet journey with iconic ballet educator Effie Nanas. She gained attention in the competition circle finishing 2nd in the Cultural Center of the Philippines’ Ballet Competition and top 15 in the World Ballet Competition. She joined the Philippine Ballet Theatre as an apprentice briefly but went on to join Atlanta Ballet. She has been dancing as a full company member since 2018. Her last performance in the Philippines was back in 2019 in Entablado, a gala featuring all the products of Ballet Philippines Alumni in celebration of the Company’s 50th anniversary. She left an imprint with her Black Swan Variation showing off her polished technique. Consistent with multiple pirouettes, strong charisma, and beautifully elongated lines, she showed then that she was born to be a star. The audience certainly agreed.The best validation that she has arrived was Santos being featured in the Dance Magazine's 25 to watch out for this 2023. The icing on the cake for Santos was her being picked to perform on opening night in Atlanta Ballet’s Nutcracker.  She was the poster girl for this ballet, the most featured Marie and Sugarplum even though she shared the role with three other dancers. I have no doubt in my mind that she gained a stronger following because of this. Santos is soaring and I can’t wait to see how far she can go. 

Luis Cabrera Photo From Hong Kong Ballet Page Photography by Condrad Dy-Liacco

Garry Corpuz Photo from Hong Kong Ballet  Photography by Conrad Dy-Liacco

In Hong Kong, two Filipinos have been making a name for themselves. Both moved to Hong Kong way before the pandemic. Both gentlemen’s careers are deeply rooted in Ballet Philippines. Garry Corpuz joined Hong Kong Ballet in 2017 and rose the ranks until he was promoted this year to Principal Dancer of Hong Kong Ballet. The company has entrusted so many meaty roles to Corpuz  He has danced alongside big stars like Iana Salenko, Mathew Golding, and Maria Kotchekova to name a few. In this run, he performed as Snow King and Cavalier among others. Luis Cabrera joined the Company in 2015  and was promoted to Coryphee in 2019. But like Corpuz, he too has been a valued member of the Company albeit in a different way. He has been the Company’s go-to guy for anything contemporary. He has also forayed into choreography which has elevated his status in  Hong Kong significantly.  This year he takes on the role of Nutcracker Prince among others. These two men have been great examples of hard work, diligence, and commitment. Having seen them grow with the Company, they have had to overcome so many challenges to stand out in such a diverse and powerful Company. Both are at the top of their game but I’m sure there is more to look forward to. 

   

  

Joan Sia and Elpidio Magat Photography by Artistyne

               

Real-life couple Joan Sia and Elpidio Magat are enjoying the spotlight. The two were former principal dancers of Ballet Manila. Both have essayed the titular roles of Nutcracker Prince and Sugarplum Fairy many times but I think this one would be remembered as one for the books. Sia and Magat performed with their new ballet family, Florida Ballet. Scoring the lead says a lot as they are very new in the Company. To be awarded this privilege so early in the game gives me hope that they will shine as brightly in Florida as they have here in the Philippines. 

Denise Parungao Phtoography by Caroline Habib

                           

Eunice Suba By Caroline Habib

Denise Parungao, former Principal Dancer of Ballet Philippines, joined New Jersey Ballet in 2022. Almost instantly she was given a chance to perform in the Company’s most critical pieces. She has had a chance to tackle choreography by George Balanchine, Christopher Wheeldon, and Harrison Ball. With a strong season under her belt, she has caught the attention of critics and balletomanes alike. She shared the role of Sugarplum fairy with another Filipina in the Company Eunice Suba. Two Filipinas doing Principal roles just gives you a warm fuzzy feeling of pride. 

                                  

David Lopena Photography by Risa Mochizuki

New Jersey Ballet newbie Bryan  Sevilla, former Ballet Manila Soloist also snatched the role of Cavalier. After a short stint with Springfield Ballet, he joined the Company just recently. He also shared the role with another promising Filipino David Lopena. While the four Filipinos were not paired with each other, their casting says a lot about artistic diversity and representation. 

Eugene Obille Photography by Erica Marquez Jacinto 

                                

Victor Maguad Photography by Erica Marquez Jacinto 

Lastly, two sleek male dancers formerly from Ballet Philippines are making a mark in Sacramento Ballet. Eugene Obille took on the Nutcracker Prince in 2022 and recently performed the role of Snow King. Who could forget  Victor Maguad ?! He was BP's reliable Principal dancer who danced all the premium roles in the company’s repertoire. He took on the top role this season and I’m sure he was a sight to behold. 

As these Filipino dancers continue to give joy to audiences with their extraordinary talent and dedication, their success becomes a beacon of hope and pride for the Philippines. Their achievements speak loudly about the enduring spirit of the Filipinos. It tells an inspiring story of passion and resilience. Their beautiful stories will affirm to the next generations that dreams indeed come true. Their journeys will be like footprints in the sand, a path that many would want to follow.  These developments of course are bittersweet because their success means they are not accessible to our local audiences. But I am hopeful that they remember to give back one way or another to the dance community that nurtured them. You can still be nationalistic in spirit even if you are a million miles away. Dancer diaspora and worse permanent migration is sad but it will almost always give you a gift.  Santa definitely delivered this year. They will definitely inspire our local dancers. I’ll take their success as a silver lining, a banner of pride for the Filipinos. Bravo Filipino.