Agnes Locsin in a Different Light

In the heart of the upscale Insular Village 1 in Lanang, Davao City, an exhibit of national significance was unveiled on September 26, 2024. The Davao Museum of History and Ethnography launched "Dance is My Life," a tribute to National Artist for Dance Agnes Locsin.

The exhibit is the brainchild and was curated by Pam and Igy Castrillo, whose exhibitions have been featured at the Davao Museum of History and Ethnography, Museo Dabawenyo, and Ateneo de Davao University. Upon approval of the Museum’s Executive Director, Sylvia Lorenzana, Pam and Igy recruited Biag Gaongen, dance archivist, dancer, and current Associate Artistic Director of Locsin Dance Workshop to assist them in this endeavor.  Believing that Locsin’s story has the power to educate, move, and inspire people, the team mounted this exhibit with vigor, passion, and commitment.

I had the privilege of seeing this exhibit last November 11, 2024 toured by no other than National Artist Agnes Locsin herself.

Photo by Lucas Jacinto 

Spoiler Alert

                                   

The exhibit begins with a retrospective timeline that showcases key moments in Locsin’s life in dance. The first thing that catches your attention is a huge photo of two-and-a-half-year-old Agnes Locsin  (dressed in baby ballet attire) striking a pose. The charming picture was taken by her  father Jose S. Locsin who was a photographer of no mean talent. Locsin was largely trained in dance by her mother Car

The exhibit then moves on to two of the most compelling artifacts in the exhibit. You see a framed picture of Agnes’ first ever award in the arts - a Best Dancer Ribbon Medal that Locsin received when she was in Kindergarten.  Beside it is Locsin's National Artist Award. 

You see the actual ribbon - in mint condition - displayed a few steps away, an affirmation of Agnes’ mother’s deep pride and joy in her daughter.  This author could not help but tear up because clearly this section of the exhibit credits Locsin’s mother for instilling in her the joy of dancing, the need to celebrate the Filipino, and the power to educate others.

               

Locsin's retrospective features a few photos of herself.  A large image of her performing a tour jeté showcases her youth and agility. While Locsin is widely recognized as a prolific choreographer, the photo reminds us that she had many awe-inspiring moments on stage as a dancer. This particular photograph was also taken by her father, to whom she attributes her compositional skills and keen eye for aesthetics. 

                                       

Choreographic Pursuits

The exhibit uses technology to provide the audience with a glimpse of Locsin's masterpieces on televisions showing curated content on USB thumb drives, allowing navigation of some of her important works. 

Locsin rose to prominence by creating pieces that embody manifestations of Filipino identity and celebrate indigenous cultures, practices, and beliefs. She developed her own vocabulary of movement, establishing herself as a maverick in the field. Her pieces soon became social commentaries and call to action within the community. The videos clearly show that her genius has a range that is hard to rival. 

Selfless Declarations of Love

The imagery of her dancers dominates the exhibit. One striking image is that of Locsin teaching dancer and nephew Sonny Locsin how to elongate his body. I had the pleasure of hearing Agnes’ personal stories about her dancers. She talked about how her dancers - whom she called her “babies” - would influence her work or glorify her pieces. Her descriptions were profoundly moving. The exhibit is clearly also Locsin’s tribute to her dancers.

Exemplary Artworks

The exhibit displays artworks that showcase Locsin’s dance pieces. They include BenCab’s invaluable Sabel Series and Monette Pangan’s unique and ingenious sculptures. 

But for this author, the most important artworks are sketches done by Locsin herself. These are impressive, to say the least; her strokes are as detailed as her choreography with a strong vibe pretty much like her character. Locsin’s artwork is clearly another bold and creative attempt to explore art beyond her comfort zone. 

                                         

The exhibit closes with a window display of the Locsin Dance Workshop showing items from the past and the present. Locsin has now come full circle. She started in Locsin Dance Workshop as a dancer and choreographer, and she has returned to the same spot to ensure that the art continues in Davao. 

A curated exhibit on a National Artist often suggests that the viewer will encounter an academic review of historical milestones. This exhibit certainly fulfills that expectation; yet, beyond this scholarly requirement, what unfolds before you is Locsin’s very heart laid bare.

Prepared with such sensitivity, the exhibit portrays the National Artist in a different light.  This exhibit is a picture of her selfless disregard for her accomplishments. Instead, in full display is her gratitude for her early influences, her collaborators, projects close to her heart, and her hidden talents. 

                                                      

Photo by Lucas Jacinto 

Agnes Locsin is a teacher, a dancer, a storyteller, a trailblazer, and a Filipino. This exhibit is a true representation of her life - multifaceted, colorful, productive,e and inspiring.  

For the people in the area, this opportunity to get to know the pride of Davao should not be missed. There is too much to learn and too much to be proud of. People from all over should flock to Davao because this is a fleeting moment to be optimized. Understand Locsin and you will understand what being a true Filipino is all about.

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.

                          

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.

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. 

CCP Art will Find its Way to Your Heart

 CCP President Margie Moran-Floirendo at the Main Theater. (Photo by Kiko Cabuena)

In 2017, the management of the Cultural Center of the Philippines presented to the public their blueprint of what they envisioned CCP to be.  It was an expansion plan for the complex that would include new venues to present art. It included a new black box theater, additional rehearsal halls, new commercial areas, and exhibition spaces.  The main objective as explained by the then Artistic Director and Vice President Cris Millado was to open up the space to new audiences. the change was to make CCP once again a household name instead of a tourist spot for even the local residents.  In the recent press, According to President of the CCP Margie Moran Floirendo from 2018 to 2019  they conducted a building audit to check what needed to be done to ensure that the CCP was rehabilitated prior to expansion. While the CCP leadership seemed ready to take on the challenge of renovation and expansion, things did not exactly go their way. The first wave of challenges came when the budget approved during the  Pres Noynoy Aquino administration was way below what was proposed. Nonetheless, this amount was enough to at the very least repair everything that needed to be fixed and upgrade the Main Theater.  The money was finally released sometime during President Rodrigo Duterte's administration.  The second wave of problems hit when the covid pandemic caused a total national lockdown. The pandemic not only made it impossible to have full-scale construction, it also created a ripple effect on the price of construction and materials. Since the COVID safety regulations have been relaxed significantly,  CCP  has gone forward unfazed by the surreal experience of sustaining the CCP as a premiere cultural institution of the country.  All offices have now been relocated. The CCP has officially been closed to the public and is expected to resume operations in 2026.  Despite the daunting obstacles, the board of directors remains enthusiastic. Armed with an initial budget of Php 900 million  Floirendo says confidently " The CCP Main building may be closed but we promise that we will not falter in our mandate to promote artistic excellence, nurture artists and engage audiences through cultural experiences. We are committed to remaining the leading art institution in the country. And when all of this is done we will remain the premier art institution not only in our country but in Asia". 

CCP Chairman Jaime C. Laya speaks to guests prior to the tour of CCP. (Photo by Erica Jacinto)

                       Ms. Tess Rances, CCP Administrative Services Department manager leads the press tour of the CCP (Photo by Erica Jacinto)

Current State of the Little Theater

Current State of Silangan Hall

Current State of the exhibit area with the contents of the Library

Current Status of the Main Theatre Lobby

Looking Forward

It seems the battle cry of the entire CCP organization is " Expect the Unexpected and respond creatively".  Looking at everything as challenges instead of problems, they will attempt to make the CCP a green institution. The goal is for it to be environmentally friendly and environmentally resilient. Its facilities will aim to be gender-responsive, and considerate to persons with disabilities and senior citizens. While the people wait for this future-ready- complex, the CCP intends to maximize their itsstrong cultural network.  Artistic Director and Vice President Dennis Marasigan reported that the dictum is to broaden its itsreach through partnerships with different venues in Manila and the regional area. Among those mentioned were the Metropolitan Museum, the Samsung Theatre, and the Newport theater. Its exhibitions will inhabit partner museums all over the country. The recent Pasinaya shows that indeed this is possible. In the recent cultural event, CCP  partnered with 30 museums and held 72 performances in various venues. This of course includes the only available CCP Venue the Tanghalang Ignacio Gimenez (Blackbox theater) and outdoor performances at the lawn area. 

CCP Vice President and Artistic Director Dennis Marasigan presents the artistic highlights for 2023

Cultural Revolution

During these trying times the resolution remains the same, making the CCP a household name. As former CCP Artistic Director Cris Millado once said " Art matters to every Filipino" or at least it should. Dennis Marasigan presented a fascinating range of activities breaking the norms of cultural exclusivity. One of the major projects of the CCP is Kanto Kultura which opens up opportunities to reach out to unknown Filipino artists and art forms. It is an attempt to close the gap between social classes with art as the equalizer. Out of the box and into people's minds.  At the same time, Marasigan reaffirms that the main programs of the CCP like the Cinemalaya, Virgin Labfest, Pasinaya, and  Performatura will remain on the agenda.  CCP will work closely with the resident companies Ballet Philippines, Philippine Ballet Theatre, the Ramon Obusan Folkloric Group and the Bayanihan Philippine National Folk Dance Company, Tanghalang Pilipino, Philippine Philharmonic Orchestra, the Philippine Madrigal Singers and the National Music Competitions for Young Artists Foundation (NAMCYA) so that they can present their seasons with dignity. The CCP  without its facilities now has an opportunity to rebrand. It is not just a building( or a complex) the CCP is a cultural movement. They will leave no stone unturned until everyone gets excited by art. CCP is homeless but hopefully not displaced in the hearts of the Filipino people. Margie Moran-Floirendo encourages everyone to continue supporting the CCP so that we can look forward to a greater CCP.

The energetic CCP Board of Directors 

CCP's Bulawan, An Obvious Cry for Help

For the past two seasons, the Cultural Center of the Philippines workforce worked tirelessly planning their golden season. During this time they continuously echoed that their ultimate goal was to  glorify and preserve Filipino art and artists, expand global leadership and  broaden their reach in the Philippines. In their last press conference launching their golden season, Vice President and Artistic Director Cris Millado was able to eloquently explain how they intended to materialize their goals. They had ultimately emphasized that the role of the resident companies would be massive in achieving their intended art to be shared with the Filipino people. Aside from the much needed complex expansion, they had twenty major projects for 2019 to resonate their idea of goodness, beauty and truth (kabutihan, kagandahan, katotohanan). It was evident also that they tried their best to curate their projects to stay committed to this. Their "patikim" of CCP at fifty was inspiring. Kudos to the cultural institution for the successful delivery of an extended and more meaningful PASINAYA with value adding free workshops. It really was a beautiful representation of KABUTIHAN. Cinemalaya and Virgin Labfest celebrated their fifteen years fully reflecting what creative freedom can do. CCP Choreography Series also completed Koryolab for emerging choreographers exploring social realism. It was a thrilling exploration of KATOTOHANAN. CCP granted Ballet Philippines a chance to do a memorable "homecoming" with over 400 dancers representing the BP alumni community. Products of Ballet Philippines and their students performed for two days showcasing how massive the influence of CCP and Ballet Philippines have had in the dance community. Philippine Ballet Theatre presented their colorful take on "Mirinisa" which is in tribute of CCP's anniversary. It is after all the first ever full Filipino ballet to be performed in the complex. It was premiered during the inaugural season of the CCP. The glorious dancing can only be described as sheer KAGANDAHAN. There were many more fruitful activities that showed the passion of the CCP workforce. Definitely with that kind of a build up, my expectations were quite high as I waited with bated breath for "Bulawan" the people's gala that would represent the golden roadmap. No amount of superlatives however can adequately describe my emotional reaction to the show.

Philippine Ballet Theatre revisited Mirinisa in celebration of the 50th Anniversary of the CCP

Breaking Apart

Through the course of my career both as an artist and an advocate for the arts, I have never witnessed that many technical problems all in one show. It was quite difficult to enjoy the performances because I could not help but commiserate with the artists who had to deal with the buzzing grounded sound. The radio frequency was also affected as speakers picked up voices from the sound booth. The microphones of the artists kept acting up. Things like this happen in theatre but it shouldn't happen to almost all the artists in the show. In a pivotal moment depicting death, it felt like everyone was concerned not about what was going on but how these artists could continue to perform with the buzzing and inconsistent audio. Special mention has to be made about Joanna Ampil who flawlessly shifted from modulating and singing delicately her melodies coping with the microphone issues. Not only was the audio inconsistent, it would break into mindblowingly loud  sounds. She never flinched even through the really alarming interruptions. The audience would gasp each time almost as if we were anticipating a bomb scare. She never took a breath nor broke  her character. Truly her performance was a class act. The choir also experienced some inconsistencies. All three hosts had failing microphones. Veterans Celeste Legaspi, Nonie Buencamino and Shamaine Centenera-Buencamino were absolute sports adding a jest or two in their spiels. Memorable was Legaspi joking about why billions must be raised to save the CCP.

Hosts: Celeste Legaspi Shamaine Buencamino Nonie Buencamino

Joanna Ampil

Stephanie Quintin and Ervin Lumauag

Lack of representation

The collection of performances was weak. It was a golden opportunity to showcase the very best "products" of the CCP. Instead it was a showcase of somewhat rough pieces that needed fine tuning both in concept and in execution. It was as if the creative group did not consider the repertoire of the resident companies and guests involved. Surely if there had been more lengthy dialogue and consultation with the groups, there could have been a chance to present each group's best. To make a point, if Act 1 was about Philippine identity the noticeably absent Philippine Ballet Theatre could have contributed excerpts from their recently concluded Mirinisa or Vinta for Mindanao, Entablado for Visayas and Fiesta for Luzon. They could have represented neo-classical dance in the Philippines. Bayanihan was made to perform Las Mayas which was a fluid and playful piece about a bird. However, was it really the best representation of the National Folk Dance Company who had just recently won global awards? Entertaining yes, but not quite the grandest piece that could present the colors of the Filipino heritage. The company could have easily represented our commitment to preserving our roots in dance with traditional repertoire that they are famous for. The same applies for the Ramon Obusan Company. The participation or non participation of Tanghalang Pilipino was quite sad. Here is a company who resides in the CCP structure yet their contribution was a mere delivery of a couple of lines at the back of the silk cloths. It was quite saddening that they were not maximized. This company has so much material that could have been used. Monique Wilson who was at the forefront of their Mi Ultimo Adios performance could have joined them in an excerpt of Mabining Mandirigma. The piece could have represented history. My point being, if the first part was about defining the identity of the Philippines, it hardly did.

Bayanihan Dance Company

Ramon Obusan Company

Monique Wilson

The second half of the show meant to show the Philippines and the World. Ballet Philippines  showed off their pristine Carmina Burana. I understand the choice as it allowed the brilliance of the singers to be highlighted against a backdrop of athleticism. As mentioned earlier, Joanna Ampil's broadway medley was glorious. Her voice was crystal clear and her performance remained intimate despite all the obstacles. After her performance was a weird return to Filipino pieces. Having said that, I would have loved to see her perform Filipino pieces from the recent Larawan or Walang Sugat instead to show that the global performers choose to remain Filipino. The inclusion of Daloy Dance Company was odd. Daloy is a reputable dance group however they could have looked a lot closer in sourcing talent. If the genre was contemporary dance, it would have been more relevant to choose from among the young  participants of WIFI, Koryolab or even the youth of Neo Filipino. After all, these are all products of the CCP Choreographers Series. If the requirement was NAMCYA then they could have utilized the young winners of Philippine Ballet Theatre.

Daloy Dance Company

The forced collaboration between, literature, dance and music often cast a shadow on the excellence of the artists. The CCP resident companies and invited guests I believe should have had a hand in the creative direction of the show in order for them to showcase their very best in alignment with the goals of show. Furthermore, as these groups were instrumental in the fifty year journey that was being celebrated, they should have been given their own slots with full introductions. The show after all was three hours. Some groups were given as much as twenty minutes minimum and others were given less than five minutes. A lot can happen in that period of time. There are only nine resident companies and a few subdivision of arts after all.

Katotohanan, Kagandahan at Kabutihan

Certainly, the three hour  gala featured amazing talent.  Kagandahan was present. Katotohanan was in full display as well. CCP needs help. In a way the show encapsulated the unspoken cracks in the institution. While this was unfortunate, I have hopes that it is a cry of help that was noticed by many. As for Kabutihan, the CCP workforce have been heroes of this generation working towards protecting art but they are people too. That being said, I hope the gala opens opportunities for conversations to happen. Good things come out of deep healing conversations. I don't think that was how they wanted Kagandahan, Katotohanan and Kabutihan to be played out but I think everything happens for a reason. The show was personally not my cup of tea but  I look forward to more success in pushing art forward. In fact, I am confident and hopeful that everything that follows will help make CCP the living room of the Filipino people.