REVIEW: Ballet Philippines’ “Exemplars” is a requiem (Archive)

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Exemplars was a step back in memory lane. Ballet Philippines revived five pieces from their seventies repertoire to signify the beginning of a requiem leading to their golden anniversary in 2019.

Nostalgic merits aside, I recognize the need for this kind of mixed bill performance. It’s hitting two birds with one stone when you combine discovery with commemoration. Ballet Philippines’ audiences were educated about the Company’s beginnings, particularly the pieces that inspired more years of creative innovation. The Company, on the other hand, was given a chance to step into the shoes of their predecessors. I reckon that it was an enriching experience to perform the pieces that ensured their future. The intention is truthfully quite beautiful, it connects different generations in celebration of dance.

Exemplary

AMADA, choreographed by National Artist for Dance Alice Reyes , is one of the monumental pieces that catapulted Ballet Philippines to a professional level. It should be preserved for good reason. Amada is inspired by National Artist for Literature, Nick Joaquin’s short story, ”Summer Solstice”. Its music was created by National Artist for Music Lucrecia Kasilag. But its significance goes beyond the artistic collaboration of these art masters.

Amada is a transnational art piece that helps solidify cultural roots of the Filipino people. The story is about the evolution of a couple dynamic. Don Rafael and Dona Amada of aristocratic background live within the confines of male domination. The woman obeys, the woman is silenced, the woman is merely respected and provided necessities and pleasantries. Amada, however, encounters the paganistic ritual of the Tadtarin which is a fertility ritual that blesses the woman a conqueror’s spirit.

The Tadtarin ritual coincides with the celebration of St John’s Day, a Catholic celebration. Amada, unable to resist the urge to indulge in the Tadtarin, satisfies her thirst and joins in the festivities. Satisfying her curiosity led to her ultimate transformation and she finds a sense of empowered femininity. She returns home with a fired up sensuality  that tames Don Rafael and forces her to succumb to her reformed womanhood.

In essence, the story re-inscribes in visual format the variety of influences here in the Philippines. The conflict between Paganism and Christianity, contribution of social classes to the Filipino mindset, gender roles, and impact of colonization are all magnificently put together in rich portrait of the Filipino people.  With that in mind, it is almost imperative that it be performed with much respect to its significance.

Empowered Amada

Untouched, Amada’s choreography is filled with beautiful references to tradition. Its movements are both vibrant and sullen, unconfined and military. This piece is the highlight of exemplars.

Perhaps armed with the pressure to deliver, the dancers emerged powerful. Dance portrayals by guest artists Candice Adea and Ronelson Yadao were not mere stage performances, there was an outpouring of emotion. Adea’s Amada was perfection personified with the focus of every step being the articulation of a woman in bloom. Her beautiful transition from repressed to unguarded was evident in both her movement and in her eyes. She sustained several balanced extensions. She exhibited extraordinary freedom in her steps especially in partnering sequences where she would comfortably leap to Yadao while maintaining lines and bravura.

Yadao, in contrast, was the necessary alpha-male. Memorable to me was the scene where his role is tamed by the woman. The willingness to be tamed was touching.

Central to the story is the Tadtarin who brings about the change. Sarah Alejandro was indeed the revelation of the evening. With much strength and power, she reintroduced herself to the ballet world with her performance. With her steely eyes and commanding presence, her influence on Amada and the audience was believable. To perform alongside senior dancers like Adea and Yadao is a challenge, but she conquered and her victory will be remembered. The anguished ensemble who constantly created a swirl of movement around the characters were commendable. Dance was brilliant education on a platter.

Unrequited

Among the performances, Songs of the Wayfarer, choreographed by Norman Walker, also stood out. In a story about unrequited love, Yadao’s ability to translate longing was moving. Visuals of constant jetes in attitude (both legs bent while jumping in the air) were impressive. Their costumes being burnt orangey red also creates beautiful blurs across the stage. The sustained poses by the ensemble painted pretty pictures with the soloists and their stories standing out. It closed with chains falling from above, covering the coveted bride  and the wayfarer. This kind of visual theatrics is magnificent.

Ang Sultan choreographed by Gener Caringal had its highs and lows. Soloists Victor Maguad and Jemima Reyes were able to execute the glorious pas de deux lifts and transitions, a Caringal trademark. Eugene Obille was also quite a technician with his exquisite extensions and leaps.

However, collectively the storytelling was compromised. It became merely a broken love story. Caringal’s iconic piece is about the cruelty of the caste society yet that did not quite translate effectively. The ensemble in the very end of this tragic story remained almost unaffected. There was no burn on stage and off stage from the tragedy. Additionally while the male ensemble were quite limber and spirited in their jumping, the female ensemble looked tired.  

Nothing is forever

Concertino is a stylized piece by Pauline Koner who was one of the pioneers of “modern dance”. It explores the story of a lady of the court and how they are behind closed doors. This piece honestly just felt dated. While I understand the significance of the genre, the style no longer resonates. It was a very lengthy display of repetitions. Glistening moment, however, was Denise Parungao’s solo, as well as a few back bending hinge exhibitions.

Valse Fantasy is the only classical ballet in the mixed bill program. Five girls and one boy feverishly performed at least a dozen grand jetes (split jump) on stage. Featuring the strong classical technique of the Company, it was a bit of fresh air.

As a whole, I would say the show was important. The dancers were definitely schooled with styles that are surely unfamiliar to them and the audiences were schooled about Ballet Philippines’ roots. I wouldn’t say though that it was a great idea to compile some of  the broodiest pieces of an era in one show. I actually left the stage with a bit of unwanted melancholy (which in a way is good).

There was very little joy in the program which can be intimidating for new audiences. Similarly, there is a feel of archaicness that may not appeal to a major part of Ballet Philippines’ audiences. It must be remembered that Ballet Philippines has been known for artistic explorations featuring the now. Exemplars was educational, but might not have lived up to the words “completely exemplary”.

Neo Filipino 2016, For Art's Sake

Photo Courtesy of Neo Filipino https://www.facebook.com/neofilipinodance/?fref=ts

Neo Filipino is the third leg of the intensifying rally towards artistic freedom in dance. Perhaps  with the recent success of Wifibody.ph and Bagong Sayaw,  the  undeniable  pulsating momentum   has put my expectations to an all time high.  After all, the  well communicated objective of this program was " to question, to inquire and to  challenge notions ". With the esteemed Ms. Denisa Reyes at the helm,  I was almost certain that the pieces individually and collectively would deliver a strong point of view. 

Five established choreographers were given twenty or so minutes to make an impression. Note that when I say impression, I do not mean that there is an intention to impress, only to leave a question, a feeling, or a strong desire for the audience to savor. 

Ma. Elena Laniog-Alverez' Sasesi opened the show. I was surprised to see this piece because I could have sworn I had seen it before. And so I was taken aback when I confirmed that  it was an updated version of an old piece from years back. But after  much reflection, I realized it was a fitting hello.  It was a  humorous  play of verbatum and movement  meant to  state what is obvious to many.  Irrationality has made its mark in the millennial world.  Word play has seized to be exclusively about knowledge and  logic but rather a hurtful and often destructive contretemps. Sometimes the conversation is more about noise than it is about content.  It was cleverly communicated by the three adorable slithering amigos( JM Cabling, Dingdong Selga and Al Garcia). With their witty familiar chatter, I loved each person's contrasting contribution to the noise. 

    

   

Raul Alcoseba presented "Kanaan".  Carissa and Candice Adea formerly of Ballet Philippines  were his instruments in portraying the sketch of  life and loss. The reality of the grief was stirring. Having known of the sisters' personal  experience of losing a loved, the piece to me became a window to their soul. The piece started with two people looking at grave with an emptiness that ironically  consumed the Little Theatre.  They moved forward and replaced the emptiness with the madness of  missing someone. They coped by being strong for each other. They survived by living in the world that kept going on despite their loss. And then they stood still. ..... and went back to square one.  Tears. Mr. Alcoseba sure knows how to paint a picture. In this alternate universe of loss, the physical partnership of the Adea sisters was undeniably  beautiful. Two peas in a pod, they extended themselves both physically and artistically.  I had much appreciation for this piece. My only criticism was that it was too long. After a while the pace slowed down and what was left was the lingering sadness in the room  that soon made it uncomfortable. It ended almost too quietly. 

"This is about Us" choreographed by Jay Cruz truthfully had me lost in translation.  I've seen some of  the encouraging feedback about the piece online and I fully respect them  but I was in total disconnect as I sat in the audience. I read the brief but I thought that it was a fusion of several ideas all injected in one piece. It wasn't simply about revelation and appreciation of a single person in society. It was also about how society  collectively yearns  for different things at different stages in their lives. At least that is how I understood the brief. But the construction of the piece was so jarring that I couldn't embrace the piece as a whole.

Instead I chose to look into portions of the choreography in my attempt to comprehend it. It starts with  a several dancers dancing about  a cloth  milking the movement as the cloth rises and falls. It then reveals PJ Rebullida clothed with nothing but his courage. His nudity needs no explanation. He performed with honesty a solo that to me made a strong statement.  His movement was telling of his conflict. The demise of this piece was when the rest of the dancers took over the stage with 80 % of the them topless. Yes 80% of the ensemble was topless. At first I couldn't comprehend the meaning behind leaving out two members of the group clothed. Surprisingly the clothing was more distracting than the nudity because it was a crack in the concept. I was looking for the meaning of the contrast. There is even a section where all the topless people laid down and  a fully clothed dancer  Rhodam Prudencio   comes in inspecting their bodies with urgency. Was he the non conformist? Was it his own reveal? Or was it repentance of wanting to be clothed with society's expectations? 

I also felt that that each section of the suite was a new story that was unfolding by the time the piece ended, I already forgot about Rebulida's courageous  revelation and the five minute pas de bourree contract series. So many different characters were  introduced  that I was left overwhelmed. If the piece was meant to question, it did. But the questions came far to many that I no longer was able to enjoy in full the beautiful moments of each section because I was too busy comprehending it. There was a lot of honesty but in the end I sought clarity. Artistic choices are   presumably for art's sake. Was it worth it ? 

As with any piece there is always something beautiful to cherish.  Art after all is gift that keeps on giving.  So I will take the liberty of celebrating moments. Cruz created moments for Julie Alagde in the ensemble. Simply she  is a joy to watch. Her organic fluidity is nothing short of poetry.  Clothed or unclothed she stood out as she did  every movement with incomparable  fullness  and passion. I wanted to  extend her airtime so that we could all just take a moment to celebrate her talent. Rhosam Prudenciado and Jed Amihan matched her intensity with  a mature take of the  athleticism that the piece required. They made sure that their repetition of steps were not just replays but solid meaningful steps.  They also partnered their girls competently. 

Ronelson Yadao and Krisbelle Paclibar presented a universal dancer disorder with "Mirroritis".  It was a simple concept that was relatable in content. Paclibar and Yadao are very good dancers and thespians and so it is very difficult to find flaws in the piece because they impress with their bankable technique.  Paclibar was strong and athletic, while  Yadao was suave and charming. With regards to their choreography, particularly memorable was their choice of music and wise use of the mirror as a prop. Leaps and sustained poses with the mirror were cute  and their pas de deux moments made me chuckle. I just thought twenty minutes was again too long for the piece.

                   

Lastly there was "On Cracked Ground", Ma. Elena- Laniog- Alvarez's second piece for the evening. I was impressed beyond measure with her new creation about poverty of the spirit and the mind.  This piece is one  that will catapult her to a higher league. What was brilliant about this piece was that she did not rely on stereotypes or characters, she portrayed poverty in different textures. She remained focused on the concept and not the dancer. Her ensemble brilliantly delivers echoes of reality.  Contemporary dance often looks like a hodge podge of improvisation but her piece has none of that. Every movement was deliberate, measured and attached to a specific silence or a specific note as well as a specific emotion.  Thankfully the dancers understood all it, mastered it and committed to the overall vision.  The vocabulary of this piece was rich. It  had quite a few difficult steps done in unexpected interrupted canon sequence. The UP Dance Company executed each step flawlessly. I couldn't have asked for more from this piece.

Coming into this show, my expectations were quite sky high. I have long believed in the tradition of Neo-Filipino. After writing about each piece  I realized it has done what it promised to do at least for this audience member. Revisiting the pieces almost left my brain going on overdrive Each piece was inclusive and I felt soothed by the art.  But I take home one important lesson from this show. Collaborations require more than a dancer performing a choreographer's steps nicely . It requires more than  sincerity  of the dancer and sincerity of the choreographer. It really boils down to alignment and a unified belief in a concept. Otherwise the audience witnesses a conversation with too many  voices, that of the dancers and that of the choreographer. Beautiful sentences do not necessarily make good conversation. More voices doesn't mean the point is understood or appreciated.  Reflections.  I am thankful for the dose of art and the intellectual and emotional stimulation.  Thankful for Neo-Filipino. 

Neo Filipino 2015 Reboot; More than a Replay

Sentimental me, I have always believed in the concept of time capsules. As children or even teenagers, we are encouraged to put a few items in a box so that you could open them up at a later time when there is a need to look back at your younger self.  It could be letters, diaries, special gifts, audio recordings etc.  The intention is to relive a few moments from the past and I guess learn from  them. Yesterday (July 24, 2015), I did just that. I went home with a sense of joy after having a glimpse of a rich past that I will cherish all my life. It reminded me that I was part of something that was bigger than myself.

 A couple of days ago, I was tagged in a post meant to encourage people to come see Neo Filipino. I messaged my friend Orly Agawan  and told him I was happy to know that a non dancer was supporting the show. Having seen the line up of the pieces to be shown, I knew that it was definitely a must watch. After that, we casually decided to do a podcast for his blog, jellicleblog.com. And so I went to my childhood playground and set my senses on fire.  It was as if I opened a time capsule laying out a moment in time where everything was beautiful at the ballet. 

Neo Filipino is one of the first modern shows  that I watched as a CCP scholar. Bereft of any dance or theatrical exposure, I went into the theater not knowing what to expect. We were required to watch these shows as part of our training. And so I went, excited that my name was in the souvenir program. I went home that day with my mind altered. Truth be told it was not that all the pieces were mind blowing. It was the thought that people could create such strikingly different work with the same vocabulary taught to them day in and day out. At that time I did not understand why the show was important. I only knew that it was  a breath of fresh air. Now that I'm older I not only see the good intentions of this show, I see its products. I am reminded of why this show is important 

A product of time 

I opened my Neo Filipino 1994 edition Souvenir program from way back. I turned the pages and I saw quite clearly that  Neo Filipino has done its job. The show was created to encourage young artists to bravely create dance perspectives.  It was meant to produce relevant choreographers. I opened the pages and low  and behold I saw  a line up that spoke volumes. At the helm, Agnes Locsin  was the artistic director of that show.   Alden Lugnasin, Paul Morales and Dwight Rodrigazo as junior choreographers presented their early works in  1994. Their write ups spoke of  their " interest in choreography". Look at them now, all  three are prominent figures in the dance world not only as dancers but as choreographers and  artistic directors.  It would be naive to say that they are where they are now solely because of the platform they were given. However, as an artist I know that every opportunity to share something with the audience is also an opportunity to receive something. Perhaps it was criticisms that taught them well. Perhaps it was the confidence that made them stronger. Perhaps it was a processing lesson from the masters that they worked with. But art on the platter definitely gives back something to the artist. Whatever they did to the gifts they received, they must have done something good. I'm quite sure the experience of seeing former prodigies show their art with their mentors this time as colleagues. 

A lesson in history 

The line up of choreographers include a roster of former Ballet Philippines artistic directors. Most of the pieces to be shown were created for Ballet Philippines during their active years with the company. Seeing the show would be getting a glimpse of  what the company was about  under the different directors. For the older dancers it would be reminiscing  a few glorious moments from the past. For the younger dancers, it is a history lesson worth paying attention to. To name a few of my favorites Neo Filipino 2015 Reboot includes Agnes Locsin's "Taong Talangka" which was an entry to the 6th Paris International Dance Competition. I think it won second if I'm not mistaken.   Alden Lugnasin's  "Flippers" was a well received piece in the nineties. It was a piece that gave Ballet Philippines II a lot of fame and attention.

Above photos from Neo Filipino Facebook Page

                         

A dancer's dream

It is a dancer's dream to dance the significant works of your mentors or favorite dancers. As JM Cordero( currently Ballet Philippines Principal Dancer) said during the Jellicle blog podcast, the dancers of this show feel a sense of privilege that they are given a chance to dance side by side former members of the Ballet Philippines as well as step into the spotlight formerly reserved for them. The pressure is indeed high but the dancers are all abuzz with excitement. Ronelson Yadao (Former Ballet Philippines Soloist)  mentioned how their only goal more than upping the old cast is to show how diversity works. Old and new, classic and contemporary, adagio and bravura, a merry of different flavors is always a good thing right?!

Change is a constant

As the name implies this is a reboot. It's aim is to revisit old works and present it in its new form. With new dancers performing the pieces it would be interesting to see if they are able to live up to expectations. The standpoint of the choreographer may have changed as well. A different frame of mind might change the tempo, the texture, the highlights of the choreography. This is after all a reboot. Change is inevitable. At the end of the day, it is always fun to judge if the change was for the better or not. #audienceperks 

In a nutshell

I see a lot of merit in this show. I don't know whose brilliant idea it was to do a reboot but I sure am glad that it materialized.  In a nutshell, with the amount of talent  this show relies on I highly doubt it would be anything less than amazing. Can't wait to  feel like that teenager who went home altered for life. I'm excited to be changed for good. 

Check out the photos below and I'm sure your curiosity will urge you to get that golden ticket to Neo Filipino 2015 Reboot

All photography by Erica Jacinto

Ms. Denisa Reyes at work 

Theater Actors transformed to dancer extraordinaires for Ms. Denisa Reyes "Asong Ulul"

In the Photos: Mailes Kanapi and Mae Paner

Neo-Filipino takes the stage from July 31-Aug 2. For tickets and more information, visit their page at https://www.facebook.com/events/437488136454904/ or call 832-1125 loc 1803 or 1409. ‪