The Birth of Team Philippines

Interest in ballet competitions have amplified in the last twenty years in a global scale. The global trend, the strong influential nudge from social media and perhaps Candice Adea's sparkling win in the 2010 UIBC have inspired our Filipino dancers to become brave enough to go beyond their comfort zone and into the  artistic combat arena. Nowadays children as young as 7 years old are being prepped to compete internationally. Despite the boost, Philippine representation in international ballet competitions is still considered a small number.  I can count with my two hands the number of people who have joined the four notable career changing competitions in the world (which in my opinion are: Prix de Laussane, USA International Ballet Competition, Varna International Ballet Competition and Moscow Ballet Competition) in the last decade.  2018 is a game changer. 

Recently, Lisa Macuja and Ballet Manila spearheaded a fundraising event for all the dancers competing internationally this 2018. Presented to the audience was a legion of dancers that suddenly blurred territories and affiliations turning them all into one brave TEAM PHILIPPINES. It was quite lovely to feel the synergy of support from the audience. I would say that the event was a true mark of "bayanihan". Giving audiences the chance to support "The Filipino Artist" as one body is such a gift to the community. Not only does it paint a beautiful picture of unity, it also shows that the potential of our dancers is something to be proud of. If the performances were any indication of their showing in their respective competitions, I would say at a minimum our dancers will leave a mark for their exemplary artistry. 

At this time, the first group of Pinoy competitors have started their USA International Ballet Competition journey in Jackson, Missisipi. Often times it's called the Olympics of ballet because of the level of difficulty in the process of elimination. To survive the application round is ready an achievement.Round one of competition  is a display of classical technique. If you survive that round, you will get to perform your prepared contemporary number. After that is a third round where you will be asked to perform 1 classical number and 1 contemporary number. Competition at this level is brutal. With this in mind, TEAM PHILIPPINES is really up for combat.  In historic fashion, the three major ballet companies in the Philippines will be ably represented by their artists. Ballet Manila will be sending Nicole Barosso and Yulian Rey to compete in the Junior Category. They are the first Filipino pair to ever qualify and compete in the Juniors division.They will be 2 out of 153 contestants. 

The senior category has 65 competitors.   Ballet Manila's resident guest artist Katherine Barkman will be competing in the senior category with non-competing partner Joseph Philips. Rising star Veronica Atienza who will be representing Philippine Ballet Theatre. Denise Parungao Jr. Principal Dancer partnered by non-competing partner Garry Corpuz will be performing for Ballet Philippines.  Filipino dancers Eunice Suba from New Jersey Ballet and Derek Drillon are also contenders in the Seniors Category. The phrases "more chances of winning" and "strength in numbers" provides hope that a handful will come home victorious. Get to know  our TEAM PHILIPPINES for UIBC 

JUNIORS UIBC

Nicole Barosso and Yulian Rey have been partnered together for quite some time. Both are no strangers to competition.  Barosso placed 1st in  the CCP National Ballet Competition in the Juniors Divion in 2016. She also got 2 silver medals from Asian Grand Prix in 2015 and 2016 . Yulian Rey placed 5th in the Asian Grand Prix 2017. At the Philippine Dance Cup he was 2nd Place in the 2012 Junior Division Solo Category and 6th Place in the 2014 Senior Division Solo Category. This promising pair is slithers with elan and appropriately playful in the spotlight. 

SENIORS UIBC

Katherine Barkman is obviously not a Filipino but she's lived in Manila for three years and have quite frankly captured the hearts of many. Just like in basketball, let's call her the "import" or "kabayan". She's a polished performer who practically glistens in bravura choreography. Sure-footed, she is able to play with her artistry and enjoy her moments on stage. She won the Gold At the 2015 Asian Grand Prix. This is her second time to join UIBC.

Denise Parungao is Manila's adagio princess. Her silken elasticity is what sets her apart from others. She often excites audiences with controlled extended balances and  generous extensions. She previously won the Luda Adameit Award in the 2011 Junior NAMCYA competition and won first prize in the 2014  CCP National Ballet Competition. 

       

Veronica Atienza is an unstoppable force of nature. From ambuiguity she introduced herself to the dance industry with a glorious performqnce in the Junior  World Ballet Competition by placing 4th. She has since then consistently pleased audiences with her fusion of  glorious femininity and youthful athleticism.  Her endless lines or multiple pirouettes are always  delivered effortlessly.

Derek Drilon is not based in Manila but has performed in the Philippines a couple of times. I have not seen him live but from what I've seen he can very well be our very own Pinoy Roberto Bolle. He has a princely  aura and a natural charm. His classical lines are impressive. He won the Gold in the Youth American Grand Prix San Francisco Qualifier and placed 6th in the overall final competition. 

Sourced from Drilon's Facebook

Eunica Suba lives in New Jersey and has been competing since she was a child. She was even featured briefly in the famous tv series "Dance Moms". Her latest achievement is winning gold at the Valentina Kozlova  International Competition . Her style is minimalist but she is strong, crisp and moves with oriental  mysterious flare. 

Courtesy of Eunice Suba

With the birth of Team Philippines, I hope that the dance community will display once again the act of bayanihan. With blurred lines and territories, I hope everyone says a little prayer and sends an unlimited supply of light and love to all our competitors as they start their journey. At the end of the day aren't we all proud of them ready? 

To TEAM PHILIPPINES. May you receive the blessing of a charmed experience. May you take home what you need to soar to greater heights. 

UP Dance Season Opener: Documenting Dance

Jamie Wilson Defies Labels

Jamie Wilson seems to make a habit of redefining himself in each chapter of his life. When people thought he was done acting, he reappeared. When people thought he was good, he became even better. When people thought he was at his very peak, he decided to shake things up by taking dual roles on stage and off stage as an actor and technical director. In a serendipitous twist of fate, he again surprised everyone by taking on the director's hat for  "Arsenic and Old Lace", a niche market play for Repertory Philippines. His evolution as an artist is truly inspiring because when one defies permanent labels in such a bold way, it means there is growth. His growth seems to be in full speed capacity and you can't help but question what vitamin helps him zoom away to the very top of the theatre food chain.

Wilson has acquired many glowing superlatives about his artistry through the years but as I write this piece, I refer to my own experiences with him. I have worked with him several times and each of those times, I was reminded to respect the craft. Wilson as a technical director, has time and time again stressed the importance of work ethics. He is very vocal about demanding respect for the material that we are performing, respect for the crew who are supporting us, respect for the tasks we are given. More importantly he demands discipline and humility on stage and off stage. In short he is very strict, like strict strict, like hide-your-phone-or-else strict, Ms. Trunchbull strict. I never really thought much about it because coming from the ballet world, discipline is a daily requirement. However, one day I came across an article about him that completely explained his very defined perspective about how theatre should be. He told the story of how he almost let acting slip through his fingers because he couldn't see the magnitude of the art. He only saw himself complying with a task (that he could do blindfolded).  Once he told me that he recognizes that everyone he's ever worked with has influenced him in some way. Designers, directors, actors, crew all have been  a teacher one way or another. Perhaps with the near loss, he realized the how art is a communal experience and not an individual journey. He realized what it meant to be part of the bigger picture. He realized that there is a responsibility that comes with the satisfaction you gain from the spotlight. I honestly believe that this was his turning point, a realization that made him focus more on what he could contribute. He  echoes PT Barnum, "The noblest art is that of making people happy". Perhaps with his near loss of the art, he found clarity in what his role in the industry could be. This renewed focus is such a blessing because I've seen him deliver only his very best in all the roles he has chosen to do. The theater community has so far been very grateful to see him at his peak.

Most recently he debuted as a director for Repertory Philippines. The story behind his new role as director is quite charming. He recommended  the Arsenic story during the Repertory Arts Council meetings and not only was it accepted, he was easily appointed as the storyteller. The play had mixed reviews but for me, it was a revelation. All my personal impressions were solidified by how the story played out. It was the little details that made the play mirror Jamie Wilson. Perhaps not many would catch the little things right away but it stayed with me. When the curtains open you see a decorated house with a sweet girly touch. But I noticed the walls had framed photos. The photos were theater greats who sadly have already passed away. To name a few, faces of Oliver Usison, Richard Cunanan, Bibot Amador were smiling at the audience. To me this spelled the words tribute. Again I could feel that in his own little way Wilson was determined to give respect to that stage, to the community and specific people who  have in one way or another allowed him to be the artist that he is. His cast choice was bold. I mean who chooses directors in multiples to be cast members?! How do you really tell several established directors how to do their job? It was bold but it was also genius. It reminded me that directors are at the core actors too and what better way to tell a story by allowing great minds to collaborate under his tenacious leadership. It reminded me that in art, humility and openness in collaboration is key. His treatment of the play was also sensitive to the material. The story line was very limiting but he didn't force anything commercial and remained committed to the text being the source of humor. While I admit not everyone will be able to understand the humor given the outdated references, I see the choice as reverence to the intellectualized black comedy. Any undue alteration would be cheapening. In a nutshell, his play reflected his values as an artist. He has gratitude, he has reverence, he has humility and he has boldness. Most importantly he understands the ins and outs of the industry and is willing to do the work just to contribute. Armed with a good head on his shoulders and a list of very important values, I really do believe he will continue to defy labels and will permanently be an evolving artist. The journey to me is inspiring and I just can't wait to see what's next.

Director Joy Virata 

Director Jeremy Domingo 

Director Joy Virata

Director Robbie Guevarra 

Here's a salute to Jamie Wilson