IDD 2025 Bawat Hakbang ay Pag-ibig: A Folk Dance Gala

Day Two of International Dance day performed at the Samsung Performing Arts theatre last April 24, 2025, featured the folk dance community. Not to be melodramatic but it nearly brought me to tears. I have rarely seen full productions dedicated entirely to folk dance, as lengthy shows are few and far between. Witnessing folk dance celebrated in such a magnificent way—and being reassured as a Filipino that the passion for our heritage and culture is still vibrant—was deeply touching. The show offered me a new perspective on folk dance. Wonderfully curated, it demonstrated that there is so much more to explore beyond the well-known dances we occasionally see.

The performances by various groups—Bayanihan, Kalilayan Folkloric Group of Catanauan Quezon, CEU Folk Dance Troupe, UE Silangan Dance Troupe, Sindaw Philippines Performing Arts Guild, UST Salinggawi Dance Troupe, RTU Kultura Rizal Dance Troupe, PNU Kislap Sining Dance Troupe, Kaloob Philippine Music and Dance Ministry, and Ramon Obusan Folkloric Group—painted a vivid picture of diversity and inclusivity. One group featured a voiceover that said, *"Bawat hakbang ay pag-ibig. Galing at galaw,"* which perfectly encapsulated what I witnessed. The performance showcased dancers of all ages, representing many communities that are not always in the limelight. It also included poetry, singing, chanting, and, of course, pulsating live music.

The groups brought their A-game in aesthetics, presenting glamorous costumes, intricate sets, and props that resembled treasures from exotic castles. These elements truly elevated the performances. The classics performed were revitalized and modified for new audiences.

Particularly memorable was UST Salinggawi Dance Troupe's "Kanayunan," which featured *Sayaw sa Bangko* (Dancing on Benches) and the famous *Tinikling*, among others. They took it to another level; for instance, in *Tinikling*, it is challenging enough to dance between the *kawayan* (bamboos) in perfect rhythm, but their version had numerous pairs dancing while the bamboos changed formation—moving clockwise as a group, then counterclockwise. It was thrilling to see them execute these tricks with confidence.

In *Sayaw sa Bangko*, they performed the usual tricks with full commitment to storytelling while incorporating acrobatics like straddle splits and cartwheels using the benches, which was highly entertaining. Through their very overt acting and creative nuances, UST celebrated the playfulness of the Filipino spirit.

A standout moment was the CEU Folk Dance Troupe's *Banga* dance, or water jar dance. Typically, the performers balance five to six jars of varying sizes on their heads—and they did just that. However, to my surprise, two dancers showcased their skills with ten to twelve jars, adding remarkable complexity to the performance. It was technically very difficult, yet done with the ease, poise, and elegance of the Filipino.

The UE Silangan Dance Group took a classic approach, and when their Maria Clara Suite dancers took the stage, the audience gasped. The costumes were beautiful and intricately designed, complementing the dancers' movements. The girls executed generous sweeps, while the boys showcased strong, polished stances, honoring Cora Inigo's original choreography as restaged by Gener Caringal. The classic became a standout in the sea of unconventional pieces.

Bayanihan performed a choreography by Ferdinand Jose with the echoes of the *Agung*. In a duet, the skill level of the dancers was on full display. The male lead performed a lunge and kneel combination, circling the woman. If that weren't impressive enough, soloist Ina Feleo also performed the same combination with grace and strength. The group also performed balancing acts using their musical instruments.

Throughout the show, there were so many balancing acts I had never seen before—balancing on gongs, plates, benches, stools. There were new depictions of Filipino life like the fishing community, playful theatrics, and warriors ready to fight.

The folk dance gala was like opening a book of untold stories about the Filipino. Truly, there is so much more to unravel and learn. Day Two was a powerful reminder that while folk dance may sit quietly in the back of some minds, it continues to evolve. Snippets of our culture remain encrusted in our folk dances—readily available for future generations.

IDD Autobiography : Traces of You in Movement (As published in Runthru Magazine)

 Ayala Land's Circuit Makati is focused on shaping its future as a cultural hub. Its goal is to be recognized not just for its venues, but its commitment to educating, inspiring, and engaging audiences. They aim to be a catalyst for community growth, producing high-caliber events that are often inaccessible to the arts community, such as this edition of the International Dance Day Festival. This five-day festival, featuring a variety of dance genres, is a significant gift to the dance community, celebrating the art form in solidarity with global celebrations. But this year, I believe, they really hit the target. Opening night was a sterling example that Makati is a key player in the arts. Their creative choices clearly show that they have an exceptional grasp of what the community needs and how to propel them to greatness.

Even before the main event began, there was a palpable sense that this festival would be different. Showing unadulterated tenacity, dancers in suits disrupted the mundane conversations in the lobby with their exploratory movement on the escalators, responding to the flow of passersby. They gathered a small crowd, drawing attention to the evening's purpose: to celebrate dance. This performance heightened the anticipation within the dance community for the evening's highlight, Company Wayne McGregor's "Autobiography V105."

Wayne McGregor is a knighted artist in the UK who gained prominence in Europe through his mastery across various platforms, including theatre, film, commercials, and diverse dance genres. Fun fact: he contributed to the famous Harry Potter films. However, it is his acclaimed works as resident choreographer for the Royal Ballet and collaborations with the American Ballet Theatre and Bolshoi Ballet that firmly established him as a forward-thinking creative in dance. The New York Times has characterized him as "an adventuresome experimenter with a restless mind, intent on pushing his disparate audience, his collaborators, and himself." Unfortunately, his brilliance has not been widely showcased in Asia, except for his recent work "Deepstaria," which was presented in Hong Kong. Therefore, it is a significant milestone for his work to reach Filipino audiences, offering a rare opportunity to experience such high-caliber performances.

Autobiography V105: Life Without Sequence

Autobiography" is a profound exploration of McGregor's artistry, encompassing the key elements that have led to his success as a celebrated choreographer. It was the perfect choice to open the celebratory festival because it showed how powerful dance could be. It was substance on a platter, combining science of the past, science of the present, art, and humanity. The theme of autobiography reflects the essence of human nature, encompassing its highs and lows—capturing the emotions that flow through our lives: pain, joy, and everything in between. A common theme in dance, however, the process of performing it is what made the difference. It is performed differently each time.. This piece premiered in 2017, a time when people were focused on deciphering algorithms and big ideas. Dance sketches based on McGregor's genetic code were created, 23 sections, each one tied to a chromosome. For every performance, the algorithm would dictate which dances would be performed and in what sequence, akin to a roulette of combinations where the dancer's fate depended on chance. Only the beginning and the end remained constant.  In its 2025 version, the influence of AI also shapes what is performed on stage, making it an updated scientific yet artistic endeavor. The concept is significant and almost philosophical, reminding us that life is indeed abstract and has no sequence. The impact of the performance was even greater.

The audience was silenced as the curtains rose to a blank stage without wings. A solitary dancer moved, creating ripples with his body. Watching him almost felt like I was navigating his thoughts with him. Devoid of pretentious clichés often found in contemporary dance, he displayed pristine technique and control. As the company's eight other members introduced themselves in their sections, this would remain true. They were all fully immersed in the movement with confident strides, sustained balances, and most importantly, beautiful lines. It says a lot about the company's discipline in staging an abstract show. Confidence in technique allows the dancer to be present in the moment, fully engaged with the physical and emotional task. Company McGregor was indeed a class act.

The performance featured several vignettes, each with emotional resonance. The physicality of the pieces was hyper-articulate, necessitating a strong command of the combinations, as the transitions were wonderfully frenetic. There was no storyline, but you could see melancholic textures and a semblance of pivotal relationships in the pas de deux. While titled Autobiography, the performance felt less like McGregor’s alone and more like a collective diary of human experience. It carved out thoughts in my mind about my own existence—a disruption that, I believe, only true art can provoke.Did I doze off during some sections? Yes. But Autobiography’s beauty lies in its ability to draw you back in, again and again, with unexpected moments of brilliance.

Building Worlds from Light and Shadow 

Beyond the engaging choreography was McGregor’s hand in transforming blank spaces. He is an architect of sorts, creating environments for the dancers to exist, stories to flourish, and emotions to intensify.Working with lighting designer Lucy Carter, they built entire worlds using nothing but light..They used light to create the illusion of the ceiling caving in toward the dancers. At times, beams of light and projections created the illusion of ceilings and planes;, they split the stage into separate rooms, putting focus on different  narratives all at the same time.While I have seen this technique employed by other creatives, the light show is fully choreographed, almost embracing the dancers at all times. At times, they manufactured an effect where darkness seemed to swallow the dancer until they disappeared completely, achieving a strikingly cinematic result. Another memorable segment involved bright flashes of light that blinded the audience, evoking small epiphanies—those life-changing moments that leave you feeling nauseous or dizzy, reminiscent of cinematic car crash flashbacks. It was simple yet genius in its execution.

Art That Provokes

I reckon that this abstract piece is an acquired taste. Not everyone will love it. So I applaud Ayala Land's Circuit Makati for choosing a piece this intricate for the local audiences. It’s about time that people are served something as intricate and intellectually stimulating as this.Even in its minimalist version (earlier iterations included physical sets as part of the choreography), Autobiography V105 remains a conversation piece—one that leaves lasting ripples in the mind.

As Chris Mohani said in his opening speech, "Dance connects us all, transcending boundaries and uniting us through shared expression." The vibrant post-show discussions proved his words true. People are still talking, still debating, still feeling. And that, truly, is the mark of art well served.

APRIL 23, 2025

IDD GALA

SAMSUNG PERFORMING ARTS THEATRE

International Dance Day Festival 2025: The Filipino is Worth Watching (as published in Theaterfans Manila)

Truly an event to be lauded, it showcased everything from traditional folkloric dances to urban beats, classical ballet, contemporary movement, and even paradance.

International Dance Day 2025 is the second edition of Ayala Makati Circuits' advocacy to cultivate interest towards dance and encourage collaboration in the community. Truly an event to be lauded, it showcased everything from traditional folkloric dances to urban beats, classical ballet, contemporary movement, and even paradance.

Artistic Courage and Choices 

On opening night, Ayala Land made a bold choice by presenting the work of knighted choreographer Wayne McGregor, from the UK. His signature works emphasize collaboration, research, development, and the intricate processes of pursuing choreography. 

"Autobiography V105," performed on April 23, 2025, is, as the name implies, a personal account of life, exploring themes of humanity. Written notes, pictures, letters, and memories contributed to the creation of the choreography's sections. 

In contrast to the deeply emotional source of dance, this work combines science, technology, and artificial intelligence, completely transforming the art form. Beyond the success of the output, I found it a beautiful statement to make to the dance community during a festival that celebrates the beauty of the art form. 

There are many reasons to be hopeful about the future. While many fear that AI could signal the death of all arts, I am encouraged that true creatives will emerge victorious. It serves as a beautiful example of a relentless artist, akin to a seedling in dry soil, fighting to find cracks to emerge and grow. Real artists will always find ways for people to see their art. 

Ayala Land’s bold choice to showcase this masterpiece marks a thrilling moment for Filipino audiences—one where art disrupts, provokes, and lingers as a lesson.

Company Wayne Mcgregor Photos by Ravi Deepres

Fond of Folk 

The second day featured a breathtaking folk dance gala, offering a rare, full-length showcase of Filipino folk dance. The event was a powerful affirmation that our people are still passionate about our heritage. The performances—curated with care and reverence—offered audiences a rich look into regional identities and stories often left untold.

Performances by groups like Bayanihan, CEU Folk Dance Troupe, UST Salinggawi Dance Troupe, and others showcased incredible diversity, inclusivity, and artistry. A standout moment was a voiceover saying, "Bawat hakbang ay pag-ibig. Galing at galaw," perfectly capturing the spirit of the evening. Live music, singing, chanting, and poetry enhanced the immersive experience, with groups presenting dazzling costumes and elaborate sets.

Highlights included UST Salinggawi’s thrilling version of "Sayaw sa Bangko" and "Tinikling," featuring dynamic bamboo movements and acrobatics; CEU's mesmerizing banga dance with dancers balancing up to twelve jars; and UE Silangan’s elegant Maria Clara Suite honoring Cora Inigo’s choreography. Bayanihan impressed with a dynamic duet and daring balancing acts.

Throughout the night, I witnessed countless new interpretations of Filipino life—from fishing communities to warrior dances—making it feel like opening a book of untold stories. The gala assured audiences that while folk dance may seem forgotten by some, it continues to evolve, preserving our culture for future generations.

CEU Folk 

To Each His Own

The IDD ballet gala was exactly what was expected: a showcase of pristine technique presented in various forms. The four prominent ballet companies stayed true to their branding. 

The Philippine Ballet Theatre opened the show with "Bughaw," featuring an Eraserheads medley arranged by National Artist Ryan Cayabyab. Choreographed by Gener Caringal, the company performed a piece in their signature style of neoclassical ballet. 

Ballet Philippines presented an excerpt from "Panaginip," which paired their intricate Filipino-inspired costumes with their athleticism. Ballet Manila went all out, featuring a full corps de ballet performing an excerpt from "Swan Lake.” Led by able dancers Abigail Oliveiro and Mark Sumaylo, they were all about classical beauty.  

Alice Reyes Dance Philippines, consistent with their bra

nd, showcased a modern ballet by Bam Damian entitled "C'EST LA CIE." Demonstrating their speed, agility, and dynamism, closing the show passionately.

Hong Kong Ballet principal dancer Fei Fei Ye, partnered with soloist Ryo Kato to perform the Giselle pas de deux and the Butterfly Lovers pas de deux. Both were done with wonderful control and seamless partnering. 

Steps Dance Studio and ABAP represented the ballet schools, showcasing our Filipino youth.  

Homegrown Filipino dancer Vince Pelegrin, now an apprentice with the American Ballet Theatre, partnered with Sooha Park, an artist from the American Ballet Theatre Studio Company. Despite their youth, this pair was the most exciting to watch, impressing the audience in both "Le Corsaire" and "Birthday Variation" duets. In "Le Corsaire," Park executed unimaginable tricks with admirable composure, including double alasecondes, triple fouettés, and suspended balances.

American Ballet Theatre Vince Pelegrin with Sooha Park 

While the guest artists delivered the evening’s most applauded moments, the heart of the gala lay in how the companies defined themselves. In doing so, they showed that there’s no single mold to fit into—only a buffet of voices, styles, and flavors worth savoring. 

Most importantly, the local companies proved that Filipino ballet stands on strong ground, offering excellent technique and resonant artistry. That alone is something worth celebrating.

Dog Days Are Over

IDD Contemporary closed the festival. UP Dance company pieces “Eyy” and “Dog Days Are Over” quite frankly summarize the closing gala’s point of view. Choreographers Dingdong Selga and (Eyy) and Ea Torrado (Dog Days Are Over) both explored the concept of individuality, dancing in abandon, living in abandon in pursuit of some sort of happiness. 

Similarly, dance is out there to feel like a warm hug for the audience. It’s the whole point of the International Dance Day festival to revel in the warmth of freedom of movement, to sit back and relax, and appreciate the freedom that can be seen on stage, and to be inspired by how great the Filipino dancers are. 

UP Dance Company

The Filipino Is Worth Watching 

IDD Festival 2025 delivered far more than a stage for 1,200 performers. It sent messages—some loud, some subtle—that deserve to linger in our minds. The opening reminded us that bold art survives. The folk gala showed us there are still chapters of our heritage yet to explore. 

Ballet night affirmed that Filipino dancers can stand shoulder-to-shoulder with the world’s best and contemporary night reminded us that it’s okay to dance differently—to live differently.

Bigger and better than its premiere year, this festival reaffirmed the value of putting Filipino talent in the spotlight. And in the end, one thing rang loud and clear: the Filipino is worth watching.