Front Row Feelings (Not a Review)

 

Three Ballet Companies, One Week, and a Missed Opportunity

I’ve been privileged to watch three prominent dance companies perform, Philippine Ballet Theatre (PBT),  Alice Reyes Dance Philippines (ARDP), and Ballet Philippines (BP). Seeing them just days apart allowed me to gain a real sense of the current climate of the dance community. I’m floored by how beautifully these companies coexist, each with its own distinct brand. I appreciate that all the companies (including Ballet Manila, whose show in Dumaguete I missed) are unapologetically eager to flaunt their artistic identities and express—through dance—what they feel the audience needs to see.

A Quick Recap of What I Watched

Philippine Ballet Theatre, after a melodramatic and technically challenging performance of "Maria Makiling" at the Samsung Performing Arts Theater, opted to showcase "Music in Motion", a widely toured mixed-bill dance performance featuring 100% Original Pilipino Music. This was presented at the pre-opening show, marking a strong cultural debut for the new venue at the Rockwell Proscenium Theater.

Alice Reyes Dance Philippines came next, also at the Rockwell Proscenium Theater, with their performance of "Pasasalamat"—another pre-opening show. It was a thoughtful mixed bill featuring works by both local and international choreographers. Notably, the program included Erl Sorilla’s Juan Tamad, a multi-sensory neoclassical piece that wove together music, theater, and dance.

It’s worth noting that Pasasalamat followed Pagdiriwang, ARDP’s earlier program filled mostly with old favorites—“oldies but goodies,” as some might say. While Pagdiriwang was a celebration of tried-and-true repertoire, I admit I began to worry that the company might start playing it safe. But Pasasalamat put those fears to rest. It was predominantly composed of new works, reaffirming my belief that ARDP remains committed to traversing beyond its comfort zone and continually evolving its artistic voice.

Ballet Philippines, meanwhile, presented a family-friendly double bill of "Peter and the Wolf and Little Red Riding Hood", in collaboration with two cultural giants—Repertory Philippines and the Manila Symphony Orchestra. The production showcased the possibilities of movement contributing to theatrical storytelling—the magic of live symphonies dancing through the air—and, of course, their core offering: classical ballet.

On Yin and Yang, and the Power of Contrast

How beautiful is it that ARDP and Ballet Philippines both created—as stated clearly in their program notes—full-bodied pieces tailor-fit for children? Let me repeat that: both companies created works not for the elite, the high-nosed, or the so-called “cultured” art patrons, but for children.

ARDP brought to life the beloved Filipino stereotype Juan Tamad, along with other literary figures, in a way that had kids squealing in laughter and cheering for the heroine. In contrast, BP turned to Western fairy tales to educate and entertain, using the timeless magic of story to connect with its youngest viewers. These weren’t “watered-down” versions of ballet—they were custom-made works that prioritized a segment of the audience often hesitant or excluded from the traditional ballet experience. And both were so easy to love.

For a moment, in both shows, I felt like a kid again. The novelty of the characters, the richness of the music, the familiarity of the literary sources—all of it simply invoked joy. Choreographer Erl Sorilla captured the Filipino essence with humor and warmth, while Misha Martnyuk nailed the whimsy and wonder of fairy tale storytelling. Both works left their most important audiences—the children—with a clear and lasting moral, all while keeping the young at heart chuckling too.

ARDP and BP, like yin and yang, drew from both local and international literature and music—but with one shared goal: to spark delight and connection in young hearts.

Music in Motion—Literally and Emotionally

The Music in Motion repertoire features music by Jose Mari Chan, Raul Sunico, and hitmakers from beloved Filipino teleseryes. The musical choices resonate deeply with the everyday Filipino, and even if some elite audience members might deny it, I’ve witnessed impeccably dressed balletomanes humming and swaying along to the glorious tunes. Especially in the provinces, when this repertoire is performed, the crowd can’t help but cheer and move with the rhythm.

By depicting the beauty of mundane life in colorful and theatrical ways, the performance becomes ultra-relatable—though perhaps not for those who’ve never commuted, waited in line at a barangay hall, or crowned a neighborhood muse. Music in Motion turns unremarkable stories into remarkable experiences.

Recently, the company also revived Gener Caringal’s epic Bughaw, set to the music of Eraserheads, arranged in orchestral style by National Artist Ryan Cayabyab. Seeing that familiar music —presented in a stylized, glamorized ballet format—was simply breathtaking. It’s a powerful reminder that music not only sets the dancers in motion but also sets the audience’s emotions in motion.

Ballet Manila’s Musical Stylings

This show reminded me of another initiative from Ballet Manila. While BM did not continue my streak of show-watching because they were all the way in Dumaguete, I am quite familiar with Ballet and Ballads. It’s a unique program where the featured artists change each year, showcasing young and emerging talent. In a somewhat concert-like format, they draw crowds of young people eager to support their idols. Their collaborators include bands like Six Cycle Mind, Blaster, and Freestyle, as well as artists like Karylle and Toni Gonzaga, to name a few. Attend any Ballet and Ballads show, and you will witness the youthful energy in the audience, exhilarated by the experience. Imagine anticipating a performance from your musical idols, only to be mesmerized by the new experience of watching ballet.

The contrast and connectedness between PBT and Ballet Manila is, to me, incredibly refreshing. One feels like an old soul, reflecting on Filipino memory and identity to draw in new audiences. The other is bursting with the energy of now, riding today’s music scene to invite the next generation in. Their methods may differ, but their method is the same: to use music as a bridge that draws people into the theater. And it just works. 

Creative Diversity as Lifeblood

Art is an equalizer—it can and should be enjoyed by every age, gender, and social class. The ballet companies I mentioned clearly understand this. They recognize that creative diversity is the life force that will keep the dance community growing.

Creative diversity in art is not limited to the innovation of techniques, styles, or genres; it encompasses the intentional creation of works that resonate with new audiences. This means crafting narratives, visuals, or performances that speak to previously unheard voices, underrepresented communities, or emerging cultural currents. It involves dancing in ways that welcome—and reflect—the people watching.

A Closing Note

I can confidently say that in art, there is no perfect formula and never a perfect execution. However, if it helps people feel something, think of something, or love something, then the journey is well worth it. Anything that moves a person is HIGH ART—let no one tell you otherwise. The Philippine ballet companies clearly grasp this concept. While their visions differ, they share a common mission: to connect, to create, and to make ballet accessible to everyone.

With this mindset, growth is inevitable. I can't wait to let the rest of the season unfold.

 Bravo, Filipino.

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

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

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

Artistic Courage and Choices 

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

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

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

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

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

Company Wayne Mcgregor Photos by Ravi Deepres

Fond of Folk 

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

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

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

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

CEU Folk 

To Each His Own

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

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

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

Alice Reyes Dance Philippines, consistent with their bra

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

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

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

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

American Ballet Theatre Vince Pelegrin with Sooha Park 

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

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

Dog Days Are Over

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

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

UP Dance Company

The Filipino Is Worth Watching 

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

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

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

Back to Back Ballet Classics

The month of August evokes a particular aesthetic. Thoughts of autumn colors, swirling leaves, and the magical glow of golden hour come to mind. In Taylor Swift's song, she sings of August slipping away like a bottle of wine, symbolizing missed romantic opportunities. It's almost as if August bring either solace or sadness, a pivotal moment in time. Ironically, Ballet Philippines (BP) and Ballet Manila will be performing romantic ballets that perfectly capture the essence of August mood. Ballet Philippines will kick off its 55th season with La Sylphide, while Ballet Manila (BM) will present Giselle. Tis the season for willowy ballerinas displaying lyrical softness and weightlessness. Tis the season for epic tragedy ballets.

Giselle (at least for this writer) has always been Ballet Manila's gem. It's the ballet that BM has perfected. Giselle stagings have consistently emphasized Ballet Manila's meticulously precise ensemble work, unity, and grace. Each staging of Giselle reiterates this to the ballet community. Lisa Macuja herself explained what makes Giselle a perfect fit for the company; "It's the style in which we take class every day. The disciplined use of the upper body and uniformed ports de bras is what the Vaganova style demands from the dancers when we take during class. Performing Giselle in the 'old romantic style' is something that is already ingrained in the dancers in Ballet Manila dancers. While a majority may advocate for updated versions the old ballets, I do hope that Ballet Manila can show audiences their good old white ballet magic once again. BM's Giselle always sounds like a good idea, especially because they offer two Russian Principal Dancer Renata Shakirova and Second Soloist Aleksei Timofeyev from the Mariinsky Ballet. Shakirova graduated from the Vaganova Ballet Academy, specifically from the class of Tatiana Udalenkova, who was also Lisa Macuja Elizalde's Vaganova teacher. She was promoted to Principal just recently. Timofeyev, a multiawarded dancer, also graduated from the Vaganova Ballet Academy. Their history creates a strong and charming connection. Macuja's vote of confidence for the pair makes this author giddy with excitement. What magic could this pair bring to Ballet Manila's precious gem? Our local stars, Abigail Oliveiro and Mark Sumaylo, are also set to perform in the Matinee. Stephanie Santiago will perform as Myrtha, and the Peasant Pas De Deux will be shared by Shaira Comeros and Joshua Enciso, as well as Pia Dames and Raphael Perez. Pearl Dames and Shaira Comeros will share the lead Wilis role. Ballet is all about tradition, and I have high hopes for this production. I echo Lisa Macuja-Elizalde's sentiments, that it is a privilege and an interesting challenge to pass on the style and knowledge to the next generation of ballerinas. Let's see if Ballet Manila can once again enthrall audiences with Giselle. The show opens with guest stars on August 31, 2024, at 8:00 PM at the Aliw Theater, followed by a 5:00 PM show on September 1, 2024. Tickets are available on Ticketworld.

On the other side of town, the stage will also be adorned in white tulle. For the first time in Ballet Philippines history, they will be staging one of the earliest romantic ballets ever created. Dance Critic Steve Villaruz captured it perfectly, describing "La Sylphide" as a delightful drizzle that inspires the imagination. The storyline is poetic, blending a love story elements of enchantment. When this ballet was last performed, it created quite a stir in Manila with critics showering it with praise. Philippine Ballet Theatre showcased its exceptional cast, including Lisa Macuja Elizalde with Osias Barosso, Anna Villadolid with Raoul Banzon. It was three decades ago, and at that time, it was considered challenging. I am curious to see how BP dancers will find it now, considering their enhanced level of athleticism. This ballet demands a lot from the dancers, with sophisticated refinement in movement and sections that require dynamism, quick and clean footwork, and balon. Truly this will be a great challenge for Ballet Philippines. Artistic Director Misha Martynuk explained that while there was no special training for the dancers, but there was emphasis on the quality of movement and a consistent need to train cardio to sustain stamina. This ballet presents an opportunity for growth and progress for the dancers. With such a talented group of performers, I am excited to see if they can rise to the occasion. Taking on the lead roles of Sylph and James are Jemima Reyes, Regina Magbitang, and Nicole Barosso, supported by Rudolph Capungcol and Ian Ocampo. Incidentally, the production of LA SYLPHIDE also inaugurates the season’s theme of relevé, which in ballet means to rise onto the tips of the toes. La Sylphide actually introduced the concept of going on pointe. I'm beyond excited to see if their show will actually be enpointe in quality and storytelling. The show opens on August 9-11, 2024, at the Solaire Theatre. Tickets are likewise available Ticketworld.

Jemima Reyes as Sylph (Photo Courtesy of Ballet Philippines)

Both of these shows have storylines that hint at tragedy, but I sincerely hope that they will be triumphant, filled with love and joy from both the dancers and the audience members. May they articulate the August mood and fill the stages with mystique and magic. Sending both companies a whole lot of love. shows are a must-see, and I encourage everyone to come and experience them. See you at the 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. 

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.

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. 

Philippine Dance History ; Freedom to Choose the Filipino

After the blistering effect of the pandemic, the 2023 dance season of the major dance companies seemed to carry more weight. All four ballet companies Philippine Ballet Theatre, Ballet Philippines, Ballet Manila, and Alice Reyes Dance Philippines fought tooth and nail to fight for their companies' art. They had to fight to keep funding. They had to fight to keep their dancers. They had to fight to keep their audience. With CCP closing its doors and casting a shadow over its 2023 season, you would think the return to stability would be choosing a safe repertoire that can surely make money. Thankfully not everyone went this route. Despite the uncertainty, it looks like there is a thirst to regain a voice, a platform to use to advocate for Filipino themes. 

Alice Reyes Dance Philippines opened its season with an epic restaging of Encantada choreographed by no less than National Artist for Dance Agnes Reyes. While this masterpiece is well-loved by the dance community it attracts a specific niche market. In a way, it alienates the ballet kid market because of its dark theme and specialized genre. Their risk paid off with masses of people shouting out praises for a meticulously prepared high art project presented to the people. Your guess is as good as mine if you ask me if it made money. To me, at this point, it shouldn't matter. It put a barely one-year-old company on the map. It showed a passionate display of commitment to preserving Filipino masterpieces and giving dignity to the work of Filipino collaborators. It was not just the ballet that was gloriously lauded by many, it was also the pulsating music of Joey Ayala and the bold  libretto by Al Santos.

Philippine Ballet Theatre will open Ibalon the ballet this coming July 28 and 29, 2023 at the Samsung Theatre. It will tell the perspective of one of the stories of Bicol that has been passed on for generations and generations by mouth. They too will take a risk and present a product of a full collaboration of Filipino Artists. The ballet is choreographed by the company's artistic director Ronilo Jaynario, with music by Paulo Zarate with special effects by Fortunato Co and Enrico Navarro. The ballet has not even premiered yet it has gained so much attention from the music, theater, and dance community. The support for this ballet shows that there is a thirst for something Filipino-made. Perhaps PBT has more to lose if this ballet does not earn well. Looking at ticket availability, Ibalon already has made a tiny win for PBT. Wouldn't that be great if this ballet is received with intensity?! It would a be beautiful statement,  "Choosing Filipino is rewarding". 

Ballet Manila will close its 25th season with Gerardo Francisco's Ibong Adarna this August 19 and 20, 2023 at the newly renovated Aliw Theatre. As known to all this ballet is also a product of an all-Filipino team. The music was composed by Diwa De Leon, the script was written by Angela Blardony Ureta, and the costumes and sets were by Make It Happen Workshop. While global exposure and collaborations are fruitful, it's always nice to see the products of an all-Filipino team. It's a pity that school is on break because this would have been a perfect education tool for the youth. It certainly breaks down the story in a memorable way. I have seen this ballet many times and it has evolved each time. I'm pretty sure the new serving will be a crisp showing of Filipino literature. 

As the controversial new Department of Tourism campaign says "Love the Philippines" in a deeper manner. These companies have already made a statement by choosing to make the stage their platform to show the glory of our Filipino artists. Maybe it's time the locals made time to follow their lead and support Filipino dance collaborations. It's a guaranteed win. Our presence in the theatre helps immortalize the work that was done, it helps our dance companies thrive not survive and it helps spread Filipino stories. It just feels like the right decision to choose Filipino as we regain our freedom to see more art. Let's celebrate the greatest blessing coming out of the pandemic. Let's use our newfound ( and much-appreciated) freedom to be Filipino. See you at the theatre. 

Check out these links to find out more about their shows. 

1. ARDancePH

RAMA, HARI (Upcoming show) 

September 15-16, 2023 | Metropolitan Theater September 22-23, 2023 | Samsung Performing Arts Theater

2. Philippine Ballet Theatre

July 28-29, 2023  | Samsung Performing Arts Theater

3. Ballet Manila Official 

August 19-20 2023 | Aliw Theater, Pasay City

Philippine Ballet Theatre’s Ibalon Claims the Power to Create and Collaborate

 

Philippine Ballet Theatre will officially open their 37th season with an all-Filipino ballet called Ibalon. Lifting from the full-length epic from Bicol, Artistic Director and Choreographer Ronilo Jaynario focuses on the love story of Handyong (The Warrior) and Oryol (The Cursed Creature). Indulging in creative liberties, he created nuances and plot twists to make the story a powerful display of love in movement. He hopes to leave audiences captivated with colorful dances inspired from Luzon, Visayas, and Mindanao. 

 This ballet is the brainchild of a seamless collaboration between PBT artistic director Ronilo Jaynario a visionary who has redefined the boundaries of ballet and Paulo Zarate  a renowned  composer who has the power to weave emotion into every scene.   Jaynario who hails from Bicol himself wanted to take a step towards immortalizing Filipino stories. When he met Zarate, he was so moved by his compositions and the dancers that the choreography was so organically created. Zarate himself committed to making a Filipino story make a mark in this day and age. He wanted a clear emotional pull that would sound remarkably Filipino. He would attend all the big rehearsals and adjust to insert nuances that he believed would help highlight the ballet’s biggest moments with cinematic appeal. 

The dancers have been so excited to breathe life to this ballet. Jessa Tangalin who plays Oryol said “I saw how our Director and Choreographer crafted this ballet. Sir Ron comes from Bicol which is why I think he’s much more particular on how he translates the epic story of his hometown into movement. He has given us volumes of challenging choreography but has given us so much room to explore our respective characters. The experience of seeing passionate choreographer collaborate with us with a story so ingrained in his childhood is enough motivation to do good.  Matthew Davo who plays Handyong said “ I feel so privileged that I was given a chance to  play a hero in a story that shows Filipino values and  identity. Creating his character was one of my career’s milestones”. 

With Ibalon generating interest, the company has had multiple legends share their wisdom about Philippine dance and roots. Rosky Hilado and Monette Co both principal dancers of the Bayanihan Dance Group took the time to coach the young PBT dancers explaining the meaning behind the aesthetics. Former PBT artistic directors Julie Borromeo and Gener Caringal, renowned choreographer Paul Ocampo, and former dance stars Maritoni Rufino, Lucas Jacinto and Liza dela Fuente have likewise shared their knowledge to this fleet of dancers. The dancers seem to display a thirst for knowledge and have reciprocated the kind gesture with great energy  in their rehearsals. Weekly this ballet has been viewed by industry experts  and  the rave reviews have started to pour in even if the company has not yet reached production week. 

With all the players  giving their all and the encouraging words of many, this ballet shows promise. I believe that it seeks to show the world that there is power  in the ability to create and collaborate. All it needs is a little bit more fairy dust  to fly.  A few more days before we find out if this ballet will be as good as it seems. 

PBT’s Ibalon will run on July 28, 2023, 8pm and July 29, 2023, 8pm at the Samsung Performing Arts Theater. Tickets are P2500 (Orchestra Center), P2,000 (Orchestra Sides), P1,500 (Loge), P500 (Balcony I), and P350 (Balcony II).

For ticket inquiries and reservations, contact 86711697, 0968-8708887, or message their social media platforms on Instagram or Facebook.

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.