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 Fest 2024, Unity in Movement

 

Ayala Land, Make it Makati, Circuit Makati, and the Samsung Performing Arts Theater made history by launching the first-ever four-day International Dance Day Festival in the Philippines. What makes this festival unique is its equal emphasis on various dance genres. The festival commenced on April 25, 2024, with a vibrant performance of the folk dance community, followed by an electrifying hip-hop night. On the third day, ballet enthusiasts gathered for a priceless ballet gala. The festival came to a close on April 28, 2024, with a night dedicated to contemporary dance. The event utilized a total of one thousand one hundred seventy-eight artists across the four-day event. With such a large number, it is safe to say that it was a true representation of the dance community. It is a rarity that would be a hard act to follow.

This event attracted diverse audiences who were eager to witness the talent of the dance community. With approximately two thousand five hundred attendees, the festival clearly demonstrated the demand for such programs. There is a thirst to see our talent in the spotlight. Chris Mohnani, the managing director of the host theater, accurately stated, "This pioneering event reaffirms our belief in the transformative power of the arts to unite, inspire, and uplift." The enthusiastic response from the audience indicated that dance had captured people's attention. It was unity in motion on stage and backstage.

It was thrilling to experience a sudden resurgence of artistic energy at the ballet gala last April 27, 2024. The event showcased a well-curated selection of performances that highlighted the talent and competence of the ballet community. The curtains opened, revealing the full glory of the theater with Philippine Ballet Theater's iconic piece, "Vinta", choreographed by Gener Caringal. the music filled the air and the sounds of gusty wind dominated, the audience gasped at the beautiful imagery displayed by the company. PBT looked much like the PBT of the old days, with a fleet of elegantly beautiful, statuesque, and delicate dancers exuding undeniable charm. Vinta was an awe-inspiring visual experience.

Alice Reyes Dance Philippines also made a strong statement with their performance of After Whom, choreographed by Bam Damian. In contrast to PBT's calm, they brought forth a storm of energy that captivated the audience. This piece has always been known for its technical difficulty. It was truly impressive to see the new generation of ARDP dancers rise to the occasion. They left
a lasting impression of this performance.

Ballet Philippines then took the stage with "Diyosa," a fusion of technology and dance. Choreographed by Mikhail Martynyuk, the dancers flexed their competence against strong light projections. The piece mainly focused on utilizing the body to create picturesque formations and aesthetics. Jemima Reyes who was at the forefront of the vignettes displayed meticulous articulation of the body. 

Ballet Manila closed the show with their vintage offering, Dancing to Verdi, choreographed by the late Tony Fabella. This piece was just so incredibly fast and difficult that it quickly reminded me that Fabella was ahead of his time. The footwork combination alone was not for the faint of heart. Ballet Manila's dancers remained calm and composed as they navigated the difficulty of the piece, all while wearing a classic smile on their faces. Shaira Comeros stood out with her impeccable technique and quiet elegance. The audience showed their appreciation for the many difficult steps she conquered.

Returning to the local stage was Pinoy pride, Garry Corpuz. Thanks to Hong Kong Ballet and the generosity of Elaine Forsgate Marden, our local audience had the opportunity to see Corpuz in his finest form. He performed in two numbers, partnering Quingxin Wang in Amor Volte Undique, choreographed by Septime Weber, and the Black Swan Grand Pas De Deux. Both numbers received thunderous applause. In Swan Lake, Wang showcased her extended balance in arabesque, spanning more than five seconds. She did not disappoint with her arabesque to pirouette series, occasionally even landing triples. But more than the tricks, she was delightfully sassy and charismatic. Corpuz has always displayed clean technique, but after years with Hong Kong Ballet, he now exudes the confidence of an International star. Their second number by Septime Wember was a visual treat, with lovely partnering lifts, extensions, and turns. The piece was sophisticated and simply satisfying. The Principal pair was surely the crowd favorite of the evening.

The professionals brought their A-game. But it wasn't just them who delivered. In addition to their performances, the program also featured the future of ballet with performances by Steps Dance Studio, Hope Academy of Dance, Halili Cruz School of Ballet and the Association of Ballet Academies of the Philippines. These esteemed institutions surprised the audience by presenting pieces with serious themes. The young generation demonstrated their unwavering dedication to dance through their passionate performances.

The ballet gala undoubtedly achieved tremendous success. The participating groups understood their role perfectly, ensuring that the audience experienced a diverse range of inspiring performances.  Kudos to Ayala Land and all its collaborators for drawing the attention to our artists. Investing in artists is not common but this event shows that it can be a powerful force for good. In line with the original intention of International Dance Day, the festival beautifully paid homage to dance by uniting communities through movement. It reiterated that Filipinos are special in their own right, and deserving of the world stage. 

In the scorching heat of the Philippines, the International Dance Day Festival was like a much-needed breeze. It felt like a nightcap that soothed the senses and just allowed the audience to focus on something beautiful for once. In a world where everything is a competition, a moment of friendship and unity can be just what we need to be inspired to do better. 

International Dance Day 2017

It comes with a bit of sadness that International day will not be celebrated in a grand way this year. After two successful BM-NCCA collaborations, I think the dance community was hyped up about how things could get bigger and better. But of course dance is not the only concern in the planet and the ASEAN as we all know serves a bigger purpose for the time being.  All is not lost as  dancers still have an opportunity to immerse themeselves in dance.

Of course you can always just play some beats, let yourself go and dance  but just in case  you want something new, take a chance in Dance Dance Asia' ecclectic ensemble of street dances from Asia.  

The Japan Foundation Asia Center and PARCO Co., Ltd. in collaboration with the De La SalleUniversity Culture and Arts Office are pleased to present DANCE DANCE ASIA — Crossing theMovements in Manila, featuring a collaborative performance on street dance, hip-hop, jazz, and contemporary dance created by emerging directors and dancers from across Asia. 

Now in its fourth year, DANCE DANCE ASIA sets out on a tour to present three performances, which premiered in Tokyo in December 2016, by a trio of choreographer-directors — MIKEY (TOKYO GEGEGAY,Japan), Vince Mendoza “Crazybeans” (Philippine All Stars, Philippines), and LION T (Vietnam )— bringing together dancers from a wide range of cultural backgrounds in a unique fusion of vibrant artistry, expert technique, and exciting music. To kick off International Dance Day, this event is a superb opportunity for audiences in Manila to experience the cutting edge of Asian street dance that is wowing the world today.

Admission: FREE ADMISSION. Registration is highly encouraged. Walk-ins welcome at a

first-come, first-served basis. For reservations, go to http://ddamanila.eventbrite.com

Or if you would rather reflect and deepen your understanding of contemporary dance visit  Contemporary Dance Map's  dance clinic. Explore, reflect.... and possibly create ??! 

Dance Clinic for International Dance Day 2017!

A workshop discussing 3 approaches to contemporary dance (Al Bernard Garcia, Sarah Samaniego, Myra Beltran)

April 28 at Guang Ming College, April 29 at Dance Forum Studio. Both 1-5pm

Free Admission.

Email: danceforum.mb@gmail.com

Yearly, a dance personality gives a Dance Day message. This year the message is culled from writings of Trisha Brown who passed away this year. The message honors her life's work:

“I became a dancer because of my desire to fly. The transcendance of gravity was always something that moved me. There is no secret meaning in my dances. THey are a spiritual exercise in a physical form.

Dance communicates, and expands the universal language of communication, giving birth to joy, beauty and the advancement of human knowledge. Dance is about creativity... again and again... in the thinking, in the making, in the doing, and in the performing. Our bodies are a tool for expression and not a medium for representation. This notion liberates our creativity, which is essential lesson and gift of art-making.

The life of an artist does not end with age, as some critics believe. Dance is made of people, people and ideas. As an audience, you can take the creative impulse home with you and apply it to your daily life.”