Agnes Locsin in a Different Light

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

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

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

Photo by Lucas Jacinto 

Spoiler Alert

                                   

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

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

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

               

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

                                       

Choreographic Pursuits

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

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

Selfless Declarations of Love

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

Exemplary Artworks

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

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

                                         

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

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

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

                                                      

Photo by Lucas Jacinto 

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

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

REVIEW: Third time’s a charm with ‘Encantada’

 

Republished article ... Original release can be seen in this link THEATERFANSMANILA

Alice Reyes Dance Philippines opened its season with National Artist Agnes Locsin’s  neo-ethnic ballet “Encantada”.  Starting strong, their first run at the Samsung theater elicited long-running curtain calls, standing ovations, and heartfelt declarations of acceptance. But nobody was prepared for the display of love on opening night at the Metropolitan Theater last April 21, 2023.  The phrase “and the crowd went wild” is usually reserved for sports arenas but  this old ballet from the 1990s  made it happen in the iconic theater. 

Encantada was the brainchild of three radical artists. Al Santos wrote the libretto, Joey Ayala the music and finally, it was directed and choreographed by Agnes Locsin. At the time of its premiere everything that they did was unorthodox. The theme was about taboos, the dance genre was contemporary and the music was tribal ( which was not your go-to music for ballets). The product was fresh and the audience embraced it.  In 2011, it was restaged by Ballet Philippines and it won numerous awards. But a lot has happened since then. The production value of shows has been inventive, contemporary dance is now at the forefront and the music industry has opened up. I wondered if the ballet could remain as potent as it was when it was created. Opening Night proved that this ballet was indeed a timeless classic. 

Purposeful Libretto

The curtains opened revealing Salvador Bernal’s majestic multilevel mountain glistening under the light of John Batalla. The moment of stillness would prepare the audience for a powerhouse performance of music, dance, and theatrics. With her feet grounded and connected to Bernal's mountain, Encantada played by Georgette Sanchez- Vargas descended from the top of the mountains and roused up the kababaihan. It was a soothing warm-up for the telling of a story laced with multiple social critiques on religious hypocrisy, the power divide in society, the violence against women, the oppressed, and the environment. 

The story has two different sectors that live by faith. The pagans of the mountains were the Kababihans who relied on their mystical Encantada and the devout Christians who lived in civilization. Through the narrative of the Estranghero who was a devout Christian, the abuse of  people and environment by the powerful Frailes would be told. In each major scene, Locsin was able to share a strong message.  For instance, in the story, the conflict intensified when the Christian icon of the Virgin Mary was turned over to the pagans who undressed it and worshiped them as their god.   This depicts that both sectors believed in the same higher power packaged differently. In the end, it is how you live your life in faith that is the true battle. 

In the story, the estranghero was saved by the Kababaihans from pain inflicted by his own sector. While he remained a devout  Christian he recognized the kindness of pagans and even lived with them in their sanctuary. The message is loud and clear different religions can coexist. 

The role of the estranghero was also quite powerful as it showed that the true devout could easily be persecuted by the powerful. The estranghero was pursued by the Frailes and the Guardia Sibil to his death. Consistent with our history as a nation, many of our heroes who have stood up for what they believed was right suffered. They were always the catalyst of change, the heroes that would be remembered.  

In the climactic battle between the Guardia Sibil and the Kababaihans,  they destroyed the environment and the spirit of the people. This is a direct call out not to bite the hand that feeds you.   There are many more poetic declarations in the scenes that the audience could pick up. Collectively the nuances have made the ballet a powerful social commentary. 

Locsin Choreography 

The pulsating music of Joey Ayala and Bagong Lumad evoked a vibe. It was ingenious to have the musicians hidden in the mountain. It seemed to breathe life into the mountain. In too many ballets, the singers take away the attention from the dancers but in this performance, the voices reverberated from the stage in the most glorious way. I am certain the dancers being so close to the live music could feed off the energy of the singers. Locsin’s rhythmic steps like stomping furiously to the beat of the music intensified the scenes bringing on  the 

Playing off the elemental sound Locsin’s choreography was a delicate display of nature. Memorable is the scene where the kababaihan heals the estranghero through the help of the Babaylan and the Encantada. Encantada lifts her arms to the sky and in a dramatic gesture pours healing into the hands of the Babaylan which the Babaylan then transfers to the Kababaihan. In this scene, the women act as a conveyor belt moving the body of the estranghero forward with their bodies. It looked like a  magical stream of water being poured out from the sky to his ailing body.

Similarly, in the scene of the great flood, bodies were rolling on the floor like objects swiftly being carried away by the current. There were scenes where the element of wind was the core aesthetic. The ensemble would run furiously in a circle creating the image of a human hurricane with their hair swept away from their faces,  the central energy mounting on stage. In the grand finale, the kababaihan toss their hair up and down like being one with the wind. Swaying hips, bendy torsos and a tempo that mimics gusts of wind created beautiful images.  

The beauty of Locsin’s choreography lies in how the movements themselves easily build up the characters of the story. For instance, Encatada could have been portrayed as the stereotype of mother earth,  colorful and vivacious. Instead,   Locsin’s Ecantada had the soul of a mother with hands that lifted in prayer, hands that could heal, hands that could nurture, and hands that could share joy. Her hand articulations were enough to convey emotions.  Her grounded movements established that she was part of the earth. Her feet were deeply grounded with most of the steps on fondu (on leg bent) but her upper body movements were weightless somewhat explaining that she is divinely connected to the heavens but rooted in service to the mountain and its people.  The Kababaihan ensemble had a lot of linked arms and intertwined bodies which emphasized their sense of community and harmony as opposed to the jagged and non-unified choreography of the violent angular movements of the Guardia Sibil.  

It could easily be my imagination but having seen this ballet multiple times, I started to notice picturesque scenes with a likeness to historical events. For instance, in the scene where the Estrangero was beaten up,  the two guards held both his arms and lifted him off the ground. His feet were intertwined and it looked like  Jesus on the cross. His role was a devout being persecuted and so it made sense. Alternatively, It could also be like  Rizal’s death scene where he falls on the floor because he dared revolt. In the scene where the Guardia Sibil were raping the women, they go to a circular formation and scream out their pain. It looked like there was a reference to Dantes's Inferno, where the mangled bodies scream in the sinner's haven. 

There were also so many references to Filipino heritage embedded in every major scene like the  Marinduque’s Moriones Festival, Manobo healing rituals, and ati atihan. It showcased  Filipino culture albeit reinvented in an alternate imaginary Locsin universe. 

Passionate Dancers

While I believe the material is the real reason behind the show’s success, the performers really brought their a-game. Neo-ethnic style is something hard to acclimatize with but the dancers seemed intent on giving justice to the choreography. Their passionate acting brought the story to a different level. Considering the technical demands of the ballet the cast’s endurance was amazing.

Georgette Sanchez-Vargas as the Encantada owned the stage displaying artistic maturity. Being a Locsin-trained dancer she was able to articulate Locsin’s vocabulary with ease. She traversed through the mountain levels with confidence. Despite being so high up in the mountain, her emotional scenes were strong enough to puncture the audience and elicit tears.  Carissa Adea who performed the role of Babylan showed a different temperament than the pioneer cast but was equally effective. She emphasized empathy and community in her storytelling. Ronelson Yadao who played the estranghero and Lester  Lester Reguindin who played the Fraile were dynamic in both their acting and their dancing contributing greatly to the drama. 

Third Time’s a Charm

This third staging of Encantada was successful for a reason. It gave full attention and respect to the material, the creators’ intention, and most importantly the artists.

Restagers Alden Lugnasin, Annette Cruz-Mariano, and Judelle de Guzman-Sicam drew from their experiences. The nuances that could easily be forgotten and imagery that could easily be non-recognizable were clear as day in this staging.

With Agnes Locsin herself at the helm of this production, she was able to school audiences that theater is not about glorifying one person’s art, it is about making sure everyone’s art comes alive. It takes a village to show something worthwhile. When the National Artist for Dance was asked how she felt about the outcome she said that everything fell into place and that she was happy about this staging. Indeed there is much to be happy about.

This now iconic ballet and the Alice Reyes Dance Philippines Company have just re-established the gold standard for creating a Filipino ballet.

Tickets: Php Free ( Registration Required)
Show Dates: April 21 - April 22, 2023
Venue: Metropolitan Theater 
Running Time: approx. 1 hour and 45 mins
Credits: Agnes Locsin  (Director), Agnes Locsin (Choreographer), Ronelson Yadao (ARDP Artistic Director), Joey Ayala (Composer), Al Santos (Librettist ), John Battala (lighting designer), Salvador Bernal  (Set Design, Costume Design), Salvador Bernal  Reproduction Consultant (Eric Cruz) Set Construction Supervisor  (Erlinda Arcega) Restagers (Alden Lugnasin, Annette Cruz- Mariano , Judelle De Guzman-Sicam)
Featured Cast:  Encantada ( Georgette Sanchez-Vargas), Babaylan (Carissa Adea), Estranghero (Ronelson Yadao), Fraile (Lester Reguindin), Joey Ayala, Bagong Lumad
Company: Alice Reyes Dance Company 

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. ‪

Define Contemporary: Why I worship Agnes Locsin

Not so long ago, there were discussions about how to define or identify contemporary dance. Some interpret it as dances that are NOT identified to a particular dance technique. Some define it as modern ballet. Some even insist it must be mixed with different art forms and mediums. My personal take on it is that contemporary dance is about liberation. It is the product of allowing a person to creatively color beyond the lines. To even attempt to define it is destroying it all together.

I definitely cannot put contemporary in a box.  I can however talk about what I think it could be. For me, contemporary dance is any movement that is a product of unique thought, innovation and a solid concept. It doesn't matter what dance vocabulary is used as long as the output reflects a leap away from template classics and or staging. I thought I should write about it this because after watching Ballet Philippines' La Revolucion Filipina, I realized that Agnes Locsin after all this years still is the best representation of a contemporary choreographer. It's ironic that her inspiration is derived from history and ethnic roots. While I know quite a few might contest this idea, I wanted to write about it anyway. 

Agnes Locsin created La Rev in the 90s. This is the 2nd attempt to restage La Rev. Every time I watch her creation, I seem to see more layers of her work. I realized  that her innovation is not merely the intricately  linked movements that she has created but rather  the fact that she has  created a whole language to communicate her message. Her medium is still ballet transformed in  neo-ethnic form which  she developed herself through various inspirations. What is more contemporary than creating  your dialect through dance. Her choreography is not only beautiful it is also very technically difficult to replicate by both dancers and choreographers. The dancers may be able to go home with the Agnes Locsin technique but it's  her rich mind that is hard to copy.  I highly respect people like her who dare to  make something they can call their own. In her case, Agnes Locsin has created a signature style that I call "nature moves". I tend to be disappointed on how "some" of the choreographers out there  have  done the opposite. A lot have gone against the grain of contemporary and  have joined the bandwagon of  supporting the template. I would love to see choreographers  develop their own style. Think Martha Graham, Twyla Tharp, George Balanchine. Better yet, think Agnes Locsin. They were once thought of as contemporary before they were established as pillars. To this day, they still represent (at least to me) the unique perspective. It may be difficult at first. It's quite possible that nobody will understand. But one day, an audience member will say "Thank you for being different". 

Photos: From CCP Website presumably from Kiko Cabuena as stated in the photo