Neo Filipino: On the Rise

Neo Filipino is the culminating level of the CCP Choreographers Series featuring the work of established choreographers. Being the last step of the program it has always been regarded as a spring board to greater things. It is expected to be the stimulus that can unleash the choreographer's inner dialogue trans mutated into movement. However, I have this personal impression that some audiences (and maybe even choreographers) think of the grant as simply a showcase that benefits only the creators. To me this casts a shadow on the platform's  relevance and  may depict the show as a "recital". Neo Filipino is not only meaningful for the choreographers who are given a chance to do what they are good at. It also represents the state of contemporary dance in the Philippines. The truth is there are only a few opportunities to showcase this genre in legitimate theaters. While the genre survives ferociously in this country, it is almost always performed in intimate settings with smaller audiences and with the frequency far from constant. That is why I find it imperative that Neo Filipino who has developed a passionate market represents the community fiercely reminding everyone that it is a generations's gift to another for the love of dance. It's a tradition that keeps the art (not just the dance makers) and the community alive.  I have been chronicling this endeavor for quite some time and it always shows astounding creations. However in the last two years, I felt that its ability to represent the community  was on a decline. Take into consideration Neo Filipino 2018 with the theme "The New Filipina Movement". It was obviously meant to represent the role of women in contemporary dance. However the overall message was muffled by the contradicting, off topic, or even demeaning images of the woman. While all the choreographers were organically talented, it was obvious they were also not on an even playing field. While the pieces were individually valuable collectively, it did not leave a dent in my thirsty mind. Were the choreographer's successful in their pieces? Did they grow as artists? Maybe so, but that was about it. For some perhaps it became (not necessarily on purpose) a self-serving exercise. 2017 was not any different. The theme was "Other Matters" showcasing brilliant choreographers with rehashed, old or new work that didn't quite go together. Again I cannot discount the rich aesthetics and the powerful dancing, I just hoped for a more purposeful outcome similar to choreographic platforms in other countries. To clarify I don't necessary mean that the pieces have to fit a mold or a theme. It could still send a message of hope if the curated pieces would leave an electric current running through the audience's veins, puncturing if need be (Think Himala the Musical!) I believe the Neo Filipino, like any art piece, is a snapshot of a generation and a moment in time and I would love for it to be colored with so much more than a bland portrait. Having said that, I am completely floored about Neo Filipino 2019. Exceeding my expectations, the performance was a monumental leap from recent years and was reminiscent of Neo Filipino glory days. Appropriately called "Arrest" it did make the audience stop and be in the moment. It did seize the opportunity to silence thoughts and prompt the audience to draw from the pieces something to think about for a long long time. With the extra challenge of collaboration, Ava Villanueva-Ong, Biag Gaongen, Georgette Sanchez- Vargas and JM Cabling successfully represented contemporary dance.Victoriously Neo-Filipino showed that Filipino art can be selflessly enriched by relevance, honesty, innovation, content, intent and empathy. More importantly, the pieces all had the power to put the audience in the shoes of other unheard, possibly forgotten humans. It was a way to reconnect to the real world.

Order and Disorder / Sibol

Choreographed by Ava Villanueva-Ong

Music by Krina Cayabyab (Collaborator) 

After a long hiatus in choreography, Ava Villanueva-Ong presented a worthy masterpiece to announce, what I would hope, is a real comeback. Sibol is a piece about the flow of life from birth, childhood, adolescence to adulting in real life in the perspective of a mother. It starts strong with grounded dancers running towards center stage assembling as a unit. Matching her temperament, Krina Cayabyab's eclectic beats complemented this rumbling dance piece. Interrupting the circular unified movement were  quick outward spikes of movement which progressed in speed and in range of movement until the formation transitioned into a long diagonal. In an instant, it reminded me of molecular movement. Search DNA replication and you'll easily understand how the dancers depicted somewhat the science of creation. The dancers would run in different directions as a group and melt unto each other  launching several canon patterns. With an unstoppable wind, they proceeded to dance in groups with athletic lifts and emergence of unpredictable canon sequences. Eventually the piece shifts to two boys who perform both a duet  with the  the quick tempo mellowing down. In a lighthearted interplay they emerge from the beautiful chaos as connected children playing, exploring with excited eyes. The crowd eventually comes back and the two are sucked into a vortex of organized disorder. In my eyes it was a picture of struggle, distractions. As the two boys join the grind, they adapt to the grit. The  piece ends with the two leading them towards the unknown. First they walk slowly with fear and trepidation in their eyes. But then they find a little light and it seemed like hope was at the end of the road. Despite the very structured performance, I felt that it had a relatable story. When a mother gives birth, it's utter madness. The window of safety is so short and you soon have to let go of the child's hands. When they enter into the real life, a mom is left anxious. Your heart starts beating faster than it should and you can do nothing but look on as your child makes his move. Though it's a long shot, when the soloist looks forward and walks, I hoped he was looking for comfort. In my head, maybe he was looking for mom. (I'm a mom and I would want my kid to look for mom when the going gets tough.)

The aesthetic level of this piece was exceptional. Ong overcame her initial hesitation and delivered a solid piece with a lot of heart and creativity. She had eight sessions with these kids and she came up with a crisp clean masterpiece. Despite the high technical content, Ong was able to command the bodies of the students from Philippine High School for the Arts. They looked every bit professional in the execution of highly technical lifts and difficult musical patterns. John Ferrer and Carlos Seneres who played the male soloists were fearless and just like the brothers that they portrayed, they were in sync in movement and in expression. It shows that contemporary dancing doesn't have to be cluttered with unnecessary additions, it can be pure dancing meshing beautifully with the perfect music.

                                                

Tatak Ta-tu

Choreographed by Biag Gaongen

Music by Jose Centenara Buencamino

Mixed Media Installation by Manny Montelibano

Tatak Ta-tu explores the skin tattoo as a cultural marker. For different ethnicity, it is an identifying mark, a sign of community. However nowadays, the sacramental value of it has been compromised with the rise of city side tattoo culture. Known to many, (Kalinga tattoos are now part of bucket-lists with only a portion of them understanding its roots. Note that Kalinga is only one of the many communities that have tattoo traditions) In the piece, the choreographer Biag Gaongen himself performs against the visuals of Manny Montelibano. Dramatically he began performing against a long white drape. A projection of ink dripping started framing his movement. Splashes of ink projecting on Gaongen's body. As he traverses on stage, he is seen as well on film but in the film he is dressed in traditional Igorot garb walking in city streets. On stage and on film he performs a similar routine symbolizing that he remains the same person, a proud "Igorot". You can hear questions being thrown at Gaongen "Igorot ka ba?", "Taga Sagada ka?". The questions are said almost flippantly and it shows how insensitive people can be. There's a million things that sets apart communities yet people only know or care about Baguio's famous Igorots. In Montelibano's film, I can almost imagine someone asking a native why he was wearing city clothes if he was an Igorot. Gaongen at one point writes on his body using his fingers and Montelibano supports this with ethnic patterns. The manner in which his fingers navigate his body go from furious speed to long winding strokes. At that point I could feel his frustration in dealing with the closed minded. I felt it was important for him to show that labels are stereotypes that  discredit  what it means to be a real "Igorot". To be an Igorot goes beyond skin deep tattoos, clothes or even movement. The dignity of an Igorot or any tribe for that matter is to adhere to the script of ancestral heritage. Everything is tattooed in a person's heart from the moment they look into their parents' eyes. The message of the piece was translated beautifully with the message clearly glorified. Gaongen's performance was strong enough to make me rethink if I was ever that kind of person. It definitely coaxed me to think about culture and how sensitive we really are towards history and community. I did however think that the pacing could have been faster. One dancer dancing for twenty minutes or so is tough if there are minimal highs and lows. Gaongen humbly said he did not consider himself an established choreographer as this is his first ever major piece of work. However, his artistic decision to draw from something personal was a good one. His ability to ensure that the film and visuals did not take away from his core message was also a sign that he has a strong artistic point of view.

                                       

Arrhythmia

Georgette Sanchez-Vargas

Music by Divan Gattamorta

Literature by Gianne Sanchez Sanson

I still remember having seen Arrhythmia in BP Entablado. Georgette Sanchez-Vargas created a piece about the reality of our beating heart. It explored its unpredictable nature. Without warning it beats for love and life, anger, weakness and even numbness. The piece is an ensemble piece showcasing athleticism in contemporary dance with hinges, extensions and jumps. I thought the formations were also cleverly made to look like a heart with all its ventricles and arteries interconnected. Just like a heart in love the piece was exciting. Vargas collaborated with her sister Gianne-Sanchez Sanson who created beautiful words to accompany the piece. Though I am not a fan of dance pieces being accompanied with words, I do recognize that the words that were written aptly describe the piece itself. I did  however have issues with the execution. I thought that it was not seamlessly incorporated into the piece because the dancers' momentum was constantly interrupted by the need to use technology like a laptop or a  cellphone. The words could have been voiced over so that there was no lag. As Sanson so eloquently wrote, the heartbeat becomes the music and the music gives light to the dance. There was no need to stop the music at any point because it felt like a heart stopped beating for a breath. The written sections could also have been edited to avoid too much explanation of the piece leaving something for the audience to imagine. Nonetheless, this piece speaks of power. It's explosively entertaining and memorable. It has a youthful feel and it's easy to love.

Ang Lihim ni Lea

Choreographed by JM Cabling

Dramateur/Collaborator: Tuxqs Tustaquio

Story by Augie Rivera

Music by Arvy Dimaculangan

JM Cabling is among my favorite choreographers because of the way he perceives choreography. In contemporary dance, there is a natural desire to dive into abstraction. Some choreographers end up never really figuring out what they want to say with their piece because there's little pressure to be precise. In contrast consistently crystal clear. All of his decisions seem to be purposeful. Clearly he draws far more than just his personal feelings. He must have had a deep reach of understanding towards the topics he chooses to shed light on. His successes (including this last piece) were products of dissecting research, environment, inspiration and creation. In short, I have a feeling he never just "wings it". I'm happy that such kind of choreographers are out there because it means the audience has access to more than beautiful movement and the dancers have access to relevant work.

"Ang Lihim ni Lea" is a children's story created by Augie Rivera. JM Cabling had the challenge of confronting the very layered and dark topic of sexual molestation while keeping the perspective of a child. With a reputable dramateur and director by his side, Cabling created a playground for the protagonist character Lea played by Abbey Carlos. In the story, Lea moves into a new condo and discovers that she suddenly has super powers. She had the ability to fly and go through different walls. She could see what her neighbors were doing and hear everything that was going on. Soon enough her teacher found out that her superpower was not flying. Her super power was surviving through the repetitive trauma of molestation from her father (played by Michael Barry Que). Her mind would transport her to anywhere but there in the same room where her torture took place. With a movable lightweight cube, Cabling allowed magic to happen with Carlos seen flying through walls. It allowed for transition of scenes and split scene story telling. The construction is something I have seen many times over but it worked in giving the element of magic that a children's story requires. The piece had an Alice and Wonderland feel to it (meant as a compliment) largely because of the airy transitions and the glorious visuals that really stay imprinted in your head. There was a scene where the cube kept moving and moving and it made me feel like it was sucking me into Lea's danger zone. It felt almost claustrophobic seeing Que and Carlos performing a pas de deux in between two sides of the cube intensifying the stress levels of a depiction of pain. While the story obviously ends well, it does leave you a bitter taste of the evil that exists. It is hauntingly beautiful but absolutely devastating. Worthy of mention is Carlos who portrayed Lea with a firm resolve to embody child like innocence. The support characters all contributed their own piece of magic. If there's anything to be improved I would say there were scenes that were too dark to appreciate the support characters. Without compromising the essence of the book, some edits of supporting character scenes could also benefit audience attention retention. The pliability of the structure could also be improved to minimize the necessity of the characters carrying it often as it sometimes takes away from the scenes. In other countries the structure is attached to a harness that helps move the structure around. I have also seen amazing work via motorized control. In this aspect, I would think restrictions on resources was the impediment. Having said that I look forward to seeing this piece again in the near future.

Cock Vs Cock

Choreographed by Denisa Reyes 

Reworked by Myra Beltran

Cock Vs Cock by Denisa Reyes was a riot. Over describing this piece will diminish its value. Simply put it is a poke at chauvinistic society that exists today. The stupidity of "I'm better than thou" was glorified and it was hilarious. Is it relevant? Check! Is it creatively done?! Check! Will I remember the political message every time I see a Cock? Check! It was the masters schooling  the choreographers. Art can be simple yet effective. Kudos to  Denisa Reyes and Myra Beltran who magnificently demonstrated that you need only to be 100 percent present in this world to find inspiration. An honest observation of the world can lead you to create something that will connect with an audience. Denisa Reyes always says, dance is a fleeting thing. It's an experience, a moment in time. But when the work is genius, you keep the moment. You bring it out of your pocket when you need it. It is a conversation starter-laughter inducing-politically charged piece that can be remembered and enjoyed as needed.

Collectively the pieces that were performed for Neo Filipino show that there is a profound pursuit of truths. This batch of choreographers ensured that they gave a piece of themselves to their creations investing not only their mind but their hearts. Neo Filipino has been revitalized and is raging towards authenticity, profound partnerships, innovation and contribution to society. It now ably represents that contemporary dance can be a tool for action, reaction and understanding. There is a glaze of sophistication in the pieces that makes me proud of the Filipino. I look forward to next year's Neo Filipino because surely this year's performance has set the bar high for the next set of choreographers.

KORYO + LAB

"To miss out on developing choreographers is to miss out on dance history. Often enough the maker is given secondary position and projection and the stellar dancer hogs the limelight. Should this remain so for long, the choreographic art itself gets encased and atrophied. It might be skillful and elegant but without the dashing waves of the new, it becomes smooth and sleek deadwood on the shore of dance history."

This insightful quote came from dance historian Steve Villaruz. If the choreographer's creative fleshing out of ideas and emotions is an after thought, then the audience misses out on conversations about life. Similarly, if nobody shows up at the theatre, then the conversation is somewhat silenced. While choreographers seem to be powerful visionaries, an empty seat in that theatre can easily paralyze. at a molecular level, their drive to create new pieces. They are human after all. Finding opportunities to stage performances is already a challenge. Crafting something out of nothing is already emotionally draining. After that effort, it cannot be discounted that an empty seat can dim someone's spirit. It is not a certainty but it is a possibility. The less people watching means less people engaging, less people challenging the message, the aesthetic and the construct of the choreographers. What do you think happens when ideas are relayed like a whisper? Not everyone is strong enough to keep a dream afloat when there seems to be nobody listening (or watching). Hence I think platforms like the WIFI Body, Koryolab and Neo Filipino who provide opportunities of growth for choreographers should be fully supported no matter what. The tripartite progression not only highlights the choreographers' skill, they acknowledge their voices and push for broadening of audiences through various ways. These projects ensures that the skill of creating is harnessed and cared for. So I encourage those who see imperfections on its execution to see that gleaming redeeming factor. Perhaps, a non deserving choreographer chosen can come out better out of the exercise. Perhaps, someone who has entertained the concept of quitting, will be encouraged to create some more. Perhaps an underdog, can surprise people with something mind blowing. Anyway, a couple of hours in the theatre is never unrewarding. Dance while it is governed by social norms like politics, rules, massive followings will come out as a product of the human mind that surely will appeal to someone out there. Time spent will surely be worthwhile.

That being said, I made it to the theatre last August 24, 2019 in support of Koryo Lab where major players in contemporary dance were ably represented. Dingdong Selga, Michael Barry Que and Sarah Samaniego are alumni of UP Dance Company. Buboy Raquitico Jr. is currently dancing for Daloy Dance Company. Christopher Chan is from Airdance.

Buhay Pagasa (House of Hope)

Choreography by Dingdong Selga

Music: Matmos, Olafur Arnalds

Dingdong Selga's brand of  emphatic choreography reminds me of "Humans of New York", a page that shares remarkable stories of people you've never met. The stories they share are shocking, tear jerking, offensive but at the end of the day their stories represent stark realities that nobody considers in their daily lives. In this edition of Koryolab, Selga's "Bahay Pag-Asa" shows the backstory of children who serve time in correctional facilities. There was nothing remarkable about his day-in-a-life story-line. It was moments of the day, thoughts of the day, laughs of the day but it was piercingly profound. Selga in his fifteen or so minute piece was able to discuss the irony that "Bahay Pag-asa" which translates to House of Hope robs children of a future. The piece began with three dancers cramped in to a cell. Struck with boredom the three engaged in sharing of corny jokes emphasizing the repetitiveness of their lives. Same, jokes, same people, same cell. The audience responded to their jokes and the shared laughter momentarily relieved their haplessness. It doesn't last long, because they are interrupted by imaginary caretakers who elicited fear and panic in them. It is at this point that Selga begins to unfold the harsh conditions that the children have to live with. They struggled to make it to the food line. They did hard labor, cleaning and scrubbing. They were silenced with brutality. All of which were done in stylized pedestrian movement with a predominant rhythm to it. The "children" in the harshest conditions thrived by sticking to each other like family. The were all going to be ok because they had each other. One of the dancers was told he had a visit from his mom. In a child like manner he looked into the darkness and waited patiently with eyes watching out for miracle. All of a sudden the solid upbeat vibe transcended into fluid melancholy. Kirby proceeded to perform a solo eliciting tears as he explored the human connection of motherly embrace and child's longing. While this is happening, a pas de deux ensued at the background framed by the steel bars. The remaining two children looked enviously at what they didn't have, love. They only really had friendship, nothing else. When the solo is over, his solace was disrupted by his friends who reminded him that all good things (at least for them) come to an end. The three go back to their prickling life where all their rights are taken away from them. The child's right to education, the right to be safe, the right to play, the right to be heard, the right to have healthcare, the right to food and water all taken away, supposedly to give them hope for a better future that seemingly will never exist. The message of this piece is achingly beautiful. It's a sad  reminder of how adults have lost touch with the important things in favor of structure. The status quo provides no hope, but we can always change the status quo right?

What was beautiful about Selga's work was how he sensitively captured the plight of the condemned children. It seems he really took the time to step into their shoes and understand how it is to live a life without hope. As choreographer and director of his piece it was evident that he communicated this well to his dancers,  Alexa Torte, Daniel Nagal and Kirby Terraza. All three dancers became colorful but broken souls. Their soulful interpretations had layers veering away from a mere comical performance. As a choreographer, Selga's brilliance is in the way he transforms the mundane actions into aesthetically beautiful movement. His work was far from pretentious or overbearing. It was not about him but about the children. HIs focus and pure mindset allowed the storytelling to become magical. Selga seems to have a preference for usage of props. In this piece he used the bench to transition and or introduce his mini vignettes. It was a person, it was a toilet, it was a bench and many more. The dancers handled the prop seamlessly and this says a lot about the preparations going into the show. Easily a crowd favorite, "Bahay Pag Asa" was a success in construction and in concept, social relevance and performance. Tears fell not just because of how emotional the piece but because a choreographer cared enough to tell this story.

 

Dos Mil Diecienueve Porsyento

Choreographed by Michael Barry Que

Video Projection: Aisha Polestico

This piece presented by Que is not a new piece. It already premiered in the WIFI Body as his graduation piece.  I thought it was quite gracious of Que to explain that he stood by the decision of his mentors when they said "Instagram" (which was the piece that he worked on for KORYOLAB) was not appropriate as of the moment. However, as an audience member who is interested in new works, I was extremely disappointed. Root word being KORYO standing in for choreography and LAB which means laboratory, I thought it was perfectly ok to fail at the experiment if that is what it meant to push the choreographer forward. Good and bad feedback is always valuable to the creators. I believe I echo some of his avid fans. That being said, I applaud Que for his utmost respect for his directors Myra Beltran and Denisa Reyes. While his new piece was not showcased, the presentation of his "Dos" was still beneficial to him as it reaffirmed his status as a choreographer. As he himself said, even if "INSTAGRAM" failed to make in onstage, the mentorship taught him all about the reality of deliverables.

The piece is about  the blurring of identities as our fast paced world demands adults to be a clone of ideal individuals. I have already previously lauded this piece for its strong aesthetics. For this showing, Que chose to add some elements to the choreography. The art of light, leveled up the kick of flavor to the dancing. Shadows were more prominent, and more dancer focused especially in the diagonals. The execution of the hangers coming down from above was cleaner and less screechier then before. Visually, the original parts were dramatized better. To be honest I did not see the necessity for the additional parts and music. I thought the concise version was more effective. Disappointment aside, I believe Que will emerge as a visionary choreographer one day because he pushes his creativity to the limit differentiating his style from others. Perhaps not all his works will be a hit but surely, they will be all be innovative.

Alala

Choreography by Sarah Maria Samaniego 

Music by Meredith Monk and Matmos 

In contrast to the very colorful pieces presented in Koryolab, Sarah Samaniego chose to present a very internal perspective. Her style was not ostentatious, instead it was more like a slow burn demanding you to be patient as she herself told her story. Alala means memory and as far as the dancing is concerned this was quite clear. Samaniego playing the central role, looked back at  her childhood days tracing the body that used to be with her fingers and with her body (another dancer, Katherine Sabate). She examined her old life remembering the highs and lows until she meets a turning point, the present. I appreciated the movement especially because Samaniego is a superb dancer. However, when I read the programme, I thought the explanation did not quite translate on stage. Aside from the huge set, the concept of the paper dolls was overshadowed and became a mere prop to signify childhood. I didn't see how it was meant to shape, duplicate and destroyed. The piece simply but elegantly became a reminder that  sometimes you lose a little of yourself along with your memories. It was a wake up call that  memories are important to keep you whole.

Met-ta-li-tic

Choreography by Christopher Chan 

Music by Jarred Pinto, Iguan, Judith Weir, Jason Lescallet, Meta Gesture Music, Chunky Move

Many have seen Christopher Chan's choreography for Airdance Company. Unfortunately for me I only saw his works at the WIFI and in both cases he was the dancer. It was a refreshing  experience to see  two male dancers give life to his vision. I was pleasantly surprised that Brian Moreno and Joshua Bajado too could perform his brand of tantric body movements including fabulous arm balances complicated by the usage of chairs. The physicality and athleticism were breath taking. 

 His theme was technology and this was evident in the execution. Despite the limitations of the blackbox he used projections directed at the floor to simulate how individuals now live inside the box of virtual living. He had two bodies as virtual selves dressed darkly and the main character was dressed in white. Ian Tiba who played the soloist danced in the middle of the stage with the video projections projecting on his skin, he was clothed in  virtual reality. They would often dance in unison or in canon establishing  the unity of the bodies. Most of the choreography made use of their metallic chairs implying they were stuck in their chairs as technology usually straps us all down. At one point Tiba sets in to movement alone in the chair performing Chan's brand of movement being all consumed by the stress of life. As he struggles the two dark bodies further smothering him to a point of asphyxiation. The trios bodies intertwining making it hardly recognizable which body was which as if to imply that the influence becomes truly embedded in oneself. The individual forgets which is influence and which is his or her own thought. Mettalitic was dark and broody much like who we all are sometimes or who who most have become. It's timely and a good representation of current life.

                  

                  

Mano Fracture
Choreography by Raul "Buboy" Raquitico Jr. 
Music: Harold Andre' Cruz Santos

Mano Fracture was surprisingly uncharacteristic of Buboy Racquitico Jr. As his write up clearly says he is a self confessed compulsive thinker. My initial impression of him when I saw "Transacting Comfort" was that he was incredibly precise as a dancer and as a choreographer. He seemed to be quite meticulous in threading together his statements in the form of movement. Mano Fracture was very entertaining with lots of bits and pieces that are largely memorable. Who can forget Deborah Afuang belting out "Basang Basa sa Ulan" while splitting  and undressing?! Who can forget the lingering jingle of "Here at SM, We've got it all for You"?! However I think the message of his piece was a bit muddled. I reckon a lot would like this piece because it the framing was familiar but I guess I was looking for something deeper. I'm not quite sure but Mano Fracture seemed to be about inclusion. How a lurker (played by Brian Abano) with no economic power could or couldn't be welcomed in a capitalist society. The first scene showed a mall opening with guards screening who could come in and Abano was always filtered out. It progressed into a sale, again Abano was pushed out. It transformed into a food court, again he was discriminated. The cycle goes on. However, there was Abano's character through no fault of the dancer does not develop. As the piece was nearing the end I could no longer remember what he symbolized. Was it a character who was indifferent to the discrimination? Did he want to defy it? I thought that with Abano's technical arsenal, he was underutilized. I do however recognize the creativity and entertainment value of the piece. Raquitico is a very intriguing person with a whole lot more to offer in the years to come.

In the very small world of contemporary dance, Korylab is a gift. With access to feedback from CCP's very own greats including but not limited to CCP Artistic Director Cris Millado and founders Myra Beltran and Denisa Reyes, these choreographers had a chance to sink or swim, remain true to their vision or choose to be blurred, remain unapologetic or apologetic about their work. In addition, on the back end they were provided by a lighting team  (Katschthelight) who actually cared about adding value to the pieces. In fact the collaborative energy allowed light to dance with the dancers harmoniously  .That kind of environment I  believe is an awesome training ground for the life as an artist. The result of the exercise as it is coined lab work, will never be futile because it is the output of the mind, body and heart speaking. It is the accumulation of ideas performed earnestly by a cast who believed in the process. Regardless of audience opinion (including mine), their statements will always be VALID. As the directors themselves have said (and I completely agree), their presence before the audience makes them luminous and powerful. That to me defines the success of Koryolab. Congratulations to the empowered brave choreographers who embarked in this journey.  May more people recognize them and find opportunities to use them, watch them and support them.  Bravo Filipino. 

MANILA TIMES: Wifibody.ph, The Diamond Emerges

ORIGINALLY PUBLISHED IN 

http://www.manilatimes.net/wifibody-ph-the-diamond-emerges/282402/

Published August 27 2016

Since its birth in 2006, the Wi-Fi Body Festival has always represented the concept of developing independence among dance artists, and driven by this initiative, to reintroduce contemporary dance as a liberating genre to explore and develop. A decade since, and contemporary dance no longer needs an introduction. Much of this has to do with the compounded success and persistence of festivals in the past, gathering artists from different genres and creating a strong cult following.

Wi-Fi in particular has assumed the role of being teacher to dancers. After generating interest in contemporary dance, it encouraged dancers to have a voice. After finding a voice, the dancers were encouraged to evolve. Now, dancers and choreographers are expected to be willing and able to innovate.

The question is this: will Wi-Fi’s progress the past 10 years be enough to sustain momentum?

This year the Wi-Fi festival, now called Wifibody.ph, was reduced to a simpler platform retaining only its choreography competition. Stripped to the bare minimum, the competition has – consciously or not – made the strongest statement about survival and victory.

On August 20, 14 choreographers presented their points of view at the CCP Studio Theatre, delivering what might be called a rallying cry for contemporary dance. Collectively they answered the call for evolution by showing a much more developed dance vocabulary. Yet what might be ultimately more laudable was the diversity of concepts that were here. Gone are the days when contemporary dance was a mere rehash of ideas. This year, each piece was a distinct story that was allowed to unfold in movement.

Michael Barry Que emerged as the top prize winner for his choreography “Negatives to Positives,” which used technology to allow the audience to experience the choreographer’s creative process. Two dancers holding flashlights had cameras attached to their bodies, revealing on a projected screen what the performance was like from the perspective of the dancers. It was a novel idea that excited the crowd especially because as it progressed, the aesthetics of their movement gained momentum, and the combination of light, shadow, and music became poetry at its finest.

But the conversation Que sought to have did not stop there. The sequence stopped and the dancers started an interactive dialogue with the audience, revealing their personas as dancers collaborating on choreography. The two were comic geniuses as they echoed what goes on inside the four walls of a studio, eliciting laughter from the audience as they poked fun at collaboration and the rudiments of rehearsals. The piece was relatable, well thought of, and entertaining. It was no surprise that it also won the Audience Choice Award.

Second prize went to “Time” choreographed and performed by Christopher Chan, an abstract interpretation of the reality of vulnerability, that played with the idea of nothing amounting to something. It was a very personal performance that was restricted to the center of the stage. With his hair covering his face, Chan transitioned quite catatonically to a myriad of held poses, the performance intensifying in physicality and drama, in the end leaving everyone breathless and disturbed. Based on this work, Chan also received the French Embassy Prize, which is a valuable study grant in France happening in 2017.

Byuti Balaga won third prize for “Man’s Best Friend,” which depicted the blurring of gender roles through a visual parody of sorts, where couple dancers take turns taming each other, alternating as masters. As the title implies, their movement would often be a caricature of the nature of the dog.

Other than the top prize winners, there were several other noteworthy pieces at this year’s Wifibody.ph, namely, the relatable “Alas Tres” by Gebbvelle Ray Selga, the socially relevant “Kasag” by Kenney Kent Garcia, and the stirring “Kamalayan” by Minette Caryl Maza.

Overall, the participants of this year’s festival delivered work that reflects the growing vitality of contemporary dance, and while in the end three people came home with a physical prize, the bigger prize might be that their efforts were received delightfully by this niche audience. I went home relieved that given this year’s festival, Wifibody.ph will live to see another year, as it has proven that every cut, bruise, and friction from the rough ten-year journey has finally allowed the diamond to emerge.

Myra Beltran, Wifibody.ph Festival Director said it best: “We had an audience who understood that each twitch of the nose, each movement in the dark, each silent moment was part of the whole. They waited for each idea to unfold, not expecting when the ‘dancing will start’ or when the action will happen. Each moment is the action. Each moment is the dance. This much we have achieved.”

Photography By Erica Marquez Jacinto