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.

Battle or Celebration of the Mixed Bill Program

Season of Flight Choreographed by Norman Walker
Photo by Jojo Mamangun 

Ballet Manila and Ballet Philippines will be sharing this weekend as they open their ballet seasons. Both will be presenting mixed bill programs that commemorate their past. It's a joint throwback.

Iconic 2.0 is the second installation of their iconic trip to memory lane. Featured are the works of local choreographers such as Gerardo Francisco (Ibong Adarna), Osias  Barosso (Ecole), Eric Cruz (Carmen), Lisa Macuja (Fur Elise) and Bam Damian III (El Adwa). Included in the program are the contributions of Martin Lawrence and Simon Hoy. Except for a few, these are major pieces that are familiar to the ballet community because they are often performed by the company. However what would be interesting to see is the debut of the new cast assuming the lead spots in these pieces. Take for example Jasmine Pia Dames performing in Bam Damian's El Adwa and Abigail Oliveiro performing Eric Cruz's Carmen. It's a reintroduction of who the new front liners are for the Company. It is a baptism of sorts that makes me giddy.

Abigail Oliveiro in Eric Cruz' Carmen
Photo by Gnie Arambulo 

Jasmine Pia Dames in El Adwa 

Ballet Philippines on the other hand continues their grand retrospective leading up to their golden anniversary. With the exception of one new piece "Sama Sama" by up and coming choreographer Ronelson Yadao, their season opener is a collection of pieces from the 1970s to early 1980s. Featured choreographers include Brando Miranda (Vivaldi Concerto), Norman Walker (Seasons of Flight) and of course National Artist for Dance Alice Reyes (Carmina Burana). These pieces are quite new to the eye for the newer generations. It is in a way a tribute to neo-classicism as they generally explore the ballet vocabulary in a stylized manner of story telling. Another good reason to watch this show is to see how the Company will utilize their fresh delivery of dancers. Joining the Company this season is Stephanie Santiago, AL Abraham and Earl John Arisola. Santiago is a homegrown talent of ACTS Manila who recently finished her schooling in Joffrey Ballet. AL Abraham is a skilled contemporary artist from UP Dance Company. Earl Arisola was a former soloist for the Company. It's interesting to see how they will contribute to Ballet Philippines' movement.

Carmina Burana
Photo by Jojo Mamangun 

With such a mix of pieces, surely there will be one that audiences will love. There will always be a reason to go to the theater and see our local ballet companies perform. Take your pick or watch both and come home with the satisfaction that you have been part of their journey. See you at the theatre.

Changing of the Tides

First quarter of the year has ended and so has ballet season for our major companies. In what seems like a strange plot twist Ballet Philippines and Ballet Manila ended their seasons with bold  uncharacteristic choices. Ballet Philippines  who is known for being the edgier choice, chose a classical ballet Don Quixote. Incidentally Don Quixote  was Ballet  Manila's year ender in 2017. Ballet Manila  packaged as a lover of tradition chose to do Ballet Ballads with their main event being  the premiere of new contemporary pieces. It seems for two weekends there was a freaky Friday switch of some sort as BM fiercely represented modern ballet and BP did the same for classical ballet. The cross over was quite interesting. 

Don Quixote 

Ballet Philippines' "Don Quixote" had quite a number of things to offer. Principal dancers taking on the soloist roles, an orchestra, a guest artist, even a tapas diner. With the long history that Ballet Philippines has with the ballet, I'm happy that at the end of the day it was not the frills but the actual dancing that won me over. 

International guests Joseph Gatti and Filipina Candice Adea did not disappoint. Their chemistry was palpable and their humor relatable. Both seemed to be having the time of their life despite the physical demands of the ballet.They never really let each other go constantly connecting with each other with a glance, a choreographed touch and even a couple of smirks. Their friendship showed in the the seamless partnering through the acts. 



Gatti swept the audience off their feet with his dynamic way of dancing. He represents what ballet could be for this generation. There was a time whene artistry was the priority and the awkward now  period where ballet is  equated to numbers and tricks. Gatti strikes the balance with athleticism and likable allure. He doesn't capitalize on  "more is more". His presence is cool and not overbearing. His tricks are intelligently created in the sense that he doesn't merely add another turn or another jump in a series. He adds a twist to his steps that emphasize strength and technique. For instance, while he does five pirouettes consistently, he often whips a six and ends it with a lengthy balance on arabesque. The usual consecutive tours are replaced with tours peppered with one leg jumps leaving people gasping. He reminds me of a young Angel Corella, a breath of fresh air. He is boyish but delivers manly and virtuoso dancing all with a relaxed breath. 



What was uplifting about this show was how the Filipino dancers took the spotlight. Celebrated Candice Adea kept the audience entertained with her quirky ways. Ronelson Yadao was smooth as Espada. He brought his own light with him wherever he went making sure that his character was never forgotten. Denise Parungao played Mercedes and Dryad Queen and her lyricism was mesmerizing. It was nice to see our own dancers not overshadowed by an awesome guest artist. 

Denise Parungao as Mercedes

Ronelson Yadao as Espada 

The ensemble honestly could have been better. Having seen the show several times, I could literally see the younger ones relaxing instead of engaging. It was a bit sad to see Gatti gawking. Every role is important and   contributory to a story. (A little of this can be seen in the photos below). I also felt that on opening night, Manila Symphony Orchestra robbed us of a few seconds of Gatti magic. Their timing particularly for Gatti portions were off and even as Gatti signaled (by walking ever so slowly and NOT DANCING) that they messed up they didn't bother to do it over. Some of his tricks were cut short. I did hear they did amazing on the second show the next day. 

Don Quixote was energetic, colorful and a display of very good dancing. Bravo. 

Cast:

Kitri :Candice Adea

Basilio: Joseph Gatti

Mercedes and Dryad: Denise Parungao

Espada : Ronelson Yadao

Cupid: Jemima Reyes 

Ballet and Ballads 

Ballet Manila closed their 22nd season with their longest running concert series "Ballet and Ballads". With a mixed bill their theme was about love perfectly in tune with the month of hearts.  I didn't find the need to string all the pieces together as their main point was to celebrate ballet and ballads and their collective universality. While I appreciated the beautiful words individually,  it was quite difficult to swallow the connection of the pieces. It's difficult to correlate Black Swan a piece about love and deception with El Adwa  which is about war and combat. Also with ballads meaning "danceable music" portions of just the orchestra playing against John Batalla's admittedly gorgeous lights were off. While it fully showcased the skill of the ABS CBN Philharmonic Orchestra it went against the grain of the theme. 

Ballet and Ballads did however give birth to a couple of heavy weight pieces that I reckon will stay with the Company for a very long time. Bam Damian created El Adwa, a powerhouse piece filled with exciting lifts performed by lead couple  Joan Sia and Romeo Peralta.  Performed with strength, the spiraling from one aesthetic shape to another was breathtaking. It is unfortunate I was not able to immortalize in photo the ensemble because with their best men, Ballet Manila claimed mastery of Damian's neo-classic style. Damian has always worked magic with tour de force pieces with men, he does it again with El Adwa. Their movements were definitive and filled with testosterone and really did a good job in mimicking the robust energy of soldiers. Filled with a string of  various jetes (elongated jumps) and barrel turns it was quite a test of  stamina.Truly, the choreography was a good fit with the dancers. Showcasing their very best abilities, it was such a triumph. 

Aria created by Martin Lawrence was a piece about the different stages or forms of love.As Martin Lawrence explains " Aria is my response to these beautiful arias that have been written by Verdi, Puccini and Bizet. It takes you on a journey of heartbreak and requited love". That it did. The piece was quite memorable because of its relatability. The dances were situated in communal spaces, the living room, the kitchen table, the family room. It took us to a journey about the not so nice part about married life. The nuances were on point. The story telling about  awkward silences, combative voices, wanting to be heard were all skillfully elaborated. Three pairs  told three different stories but they all ended up in one couch, on the same page of struggle. Particularly touching was the partnership of Mark Sumaylo and Abigail Oliveiro which had a high level of connectivity given the seduction aspect that was highlighted. In their pas de deux there was a lot of variations of the "embrace" alternating between loving and suffocating. In my eyes it was more a depiction of an impulsive kind of love that has not quite reached maturity. Their dancing in contrast was strong and magnetic. My only comment was that the ballet may be seen differently depending on where you are seated. It is best seen in Orchestra Center. 

As the title implies classical ballet was still represented. Originally  created for Lisa Macuja-Elizalde and Rudy De Dios " Ilsa Dyur" (trivia: it is their names in reverse) is highly technical.Though this one is a restaging, I would say the piece was reborn.  Not many can perform the piece so it's an achievement for a couple to make it look their own.  It's vocabulary is classical ballet but it is branded by Damian's luxurious aesthetic. The usual supported pencees were made extra beautiful with rounded contrasting arms. Traditional overhead lifts were seen in different perspectives. Jasmine Pia Dames and Rudolph Capongcol succeeded and  looked quite comfortable and at ease performing such a difficult ballet. Dames conquered the quick footwork which consisted of hopping echappes, pirouettes, small jumps paired with corner pique turns with legs extending to the front and to the back all in packed in a minute. It was a exquisite  play on Tchaikovsky's music. Capongcol likewise delivered with controlled arabesques and crisp cabrioles. The grand pas de deux was light and highly entertaining. 

Despite the lack of fluidity in concept, it cannot be denied that Ballet Manila showcased their capacity to adapt to modern times. Their ability to perform more contemporary pieces gives their name a lift. In the past years they have started to redefine themselves as a heavy hitter in modern ballet. While they stuck to one branch of modern ballet, with  constant encounters with Martin Lawrence, Annabel Ochoa and Bam Damian they have gotten a whole lot stronger. Any company would want a good balance between the new and the old. 

Black Swan Pas de Deux by Heewon Cho and Elpidio Magat

Pinoy Ako Choreographed by Jonathan Janolo 

Kapit choreographed by Lisa Macuja 

Changing of the Tides

Now that the ballet seasons have ended, I'm left thinking about what to look forward to for 2018. Rumors have been silenced about sharing a weekend of  Carmina Burana for Ballet Philippines and Ballet Manila and a follow up performance of the same ballet for Philippine Ballet Theatre. I'm glad because the consistent repetition is tiresome. Perhaps it is not intentional but it's also not great programming. In basic marketing, competitor analysis is key.   There's a million ballets out there. Should the intention be about changing of the tides or reinvention of all the companies then may it be through newly created pieces in both contemporary and classical ballet formats. May coping with the "new"result in a showcase of Philippine  premieres. Perhaps a staging of Balanchine, Alice and Wonderland, Manon or a new full Filipino epic perhaps? I am the worst example of an affected audience just because I see something beautiful in every show but I feel not everyone will be like me. I'd like to encourage everyone to experience something distinctly magical at the theatre. Here's to hoping for  a showcase of diversity this 2018. 

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.