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.