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Performance Photos: Tanghalang Pilipino’s ethno-epic musical, Lam-ang

Tanghalang Pilipino LAM-ANG poster 2

The first week run of Tanghalang Pilipino’s presentation of Lam-ang was a success and is now preparing for its 2nd week. And to accomodate more audiences, they added special weekday shows set on December 11, 12 and 13.

Lam-ang is an ethno-epic musical that re-imagines and reinterprets Biag ni Lam-ang, the oldest among the folk epics of Luzon. This play, which aims to rediscover a significant portion of Philippine culture and heritage, is inspired by the published Ilocano version of Isabelo delos Reyes and Tagalog translations of Angel Acacio and Ariel Tabag.

This musical takes us back to the times when we were our own selves by ourselves in our own little worlds. It chronicles the conquests of Lam-ang from the land of Nalbuan while envisioning local traditions that are being lost, ancient customs and lores that are being forgotten, and vestiges of our affluent past that are in danger of disappearing forever.

The production of Lam-ang also features the collaboration of award winning actors led by JC Santos and Anna Luna with Tex Ordoñez-De Leon, Joshua Cabiladas, Raflesia Bravo, Jonathan Tadioan, Ybes Bagadiong, Lance Reblando, Alvin Maghanoy, Hazel Maranan, Remus Villanueva, Paw Castillo, Karenina Ng, JV Ibesate, VJ Cortel, Francis Gatmaytan, Rapah Manalo, Miah Canton, Antonette Go, Gabo Tolentino, Alys Serdenia, and Lhorvie Nuevo.

The Creative Team of “Lam-ang” is an artistic collaboration among the following:
Eljay Castro Deldoc (New Book and Lyrics), Jen Darlene Torres (Music and Lyrics), Fitz Edward Bitana (Direction), Marco Viaña (Direction and Set Design), TJ Ramos (Musical Direction and Sound Design), JM Cabling (Choreography), Bonsai Cielo (Costume Design) and Lighting Design by Meliton Roxas, Jr.

Here are some Lam-ang performance photos taken by Erickson dela Cruz;

Tanghalang Pilipino LAM-ANG 2019. Photo by Erickson Dela Cruz 008
Hazel Maranan as Namongan.
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Jonathan Tadioan as Tandang Guibuan.
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Antonette Go and Lhorvie Nuevo.

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Remus Villanueva as Lakay Lokan.
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Tex Ordoñez-de Leon as Baglan, with Hazel Maranan (Namongan) and Remus Villanueva (Lakay Lokan).
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Ybes Bagadiong as Ka-ul.

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Alvin Maghanoy bilang Batang Lam-ang.
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JC Santos as Lam-ang.
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Joshua Cabiladas as Gumakas.
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Ybes Bagadiong (Ka-ul) and Lance Reblando as Taraok.
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Anna Luna as Kannoyan.

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Lam-ang” closes on December 15, 2019 at the Tanghalang Aurelio Tolentino (Little Theater) of the Cultural Center of the Philippines (CCP).

Tickets are available at the CCP Box Office, Ticketworld, Ticket 2 Me, Blimo and the Tanghalang Pilipino office.

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News: Tanghalang Pilipino presents ‘Lam-ang’ into an Ethno-Epic Musical

LAM-ANG characters collage 3

Lam-ang takes centerstage this December as Tanghalang Pilipino’s third production for this MAKIDIGMA season (33rd Theater season, 2019-2020). This ethno-epic musical promises to present this oldest folk epic in Luzon with utmost respect for to its purest elements but, with some contemporary innovations in consideration of the sensibilities, level of artistic appreciation and cultural education of our contemporary audiences. Unforgettable songs, movements, dramatic actions and rituals artistically blend the old with the new in this musical.

JC Santos. Photo by Erickson dela Cruz

Topbilling this production is TV, movie and theater actor JC Santos, a graduate of Theater Arts from University of the Philippines, Diliman. Previous to “Lam-ang”, JC appeared in many stage productions including “Orosman at Zafira,” and “Isang Panaginip na Fili,” He received warmest accolades for his well-received turn as Roland in “Constellations“, which paved the way for him to find a niche in mainstream showbiz.

Lam-ang” marks JC’s stage comeback after years of devoting his time to the small and big screens.

“This is also my first time to bag a lead role in a musical. And, on top of that, this is my first with Tanghalang Pilipino,” adds JC Santos. “I am extremely honored to be part of this production and to work with all these talented artists.”

Also making her Tanghalang Pilipino debut is Anna Luna, who impressed audiences with her performance in the stage and movie versions of “Changing Partners“. Anna plays the beautiful Kannoyan, Lam-ang’s first love.

Anna Luna. Photo by Erickson dela Cruz

“Kannoyan will teach Lam-ang that the power of a lifelong love is far stronger than any loss or victory in a war,” expresses Anna. “I am so honored and grateful for the trust given to me to play this landmark role of Kannoyan.”

Both JC and Anna have lead roles in full-length film entries in this year’s Cinema One Originals Film Festival, JC stars in “Tayo muna habang hindi pa tayo” with Jane Oineza while Anna stars in “O” alongside with Jasmine Curtis-Smith and Lauren Young. The films are shown in cinemas last October.

Respected stage veteran Tex Ordoñez-de Leon, former resident actor of Tanghalang Pilipino, lends her powerful voice to Baglan. Tex, a prolific stage actress, once recorded a duet with Gary Valenciano.

JC, Anna, Tex are joined by a host of the most versatile young stage actors in the country, including Lance Reblando, Alvin Maghanoy, Hazel Maranan, Remus Villanueva, Paw Castillo, Joshua Cabiladas, Raflesia Bravo, Alys Serdenia, Miah Canton, Rapah Manalo, VJ Cortel, Gry Gimena, Gabo Tolentino, Francis Gatmaytan, and the members of the multi-awarded Tanghalang Pilipino Actors Company – Jonathan Tadioan, Ybes Bagadiong, JV Ibesate, Antonette Go and Lhorvie Nuevo.

TANGHALANG PILIPINO - LAM-ANG presscon 01
The cast and artistic team of Tanghalang Pilipino’s Lam-ang. Photo by Erickson dela Cruz

Lam-ang” is an artistic collaboration among the following: Eljay Deldoc (New Book and Dramaturgy); Jen Darlene Torres (Music and Lyrics); Fitz Edward Torres Bitana (Director); Marco Viaña (Director and Set Designer).
Torres is also the composer of songs with TJ Ramos as musical director and sound designer; with JM Cabling as choreographer. The costume designer is Bonsai Cielo and the Lighting designer is Meliton Roxas Jr.

TANGHALANG PILIPINO - LAM-ANG presscon 03
(From L-R) Marco Viaña, Eljay Deldoc and Fitz Bitana. Photographed by Erickson dela Cruz

Lam-ang” runs from December 6 to 15, 2019 at the Tanghalang Aurelio Tolentino (Little Theater) of the Cultural Center of the Philippines (CCP).

Tickets are available at the CCP Box Office, Ticketworld, Ticket 2 Me, Blimo and the Tanghalang Pilipino office.

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Performance Photos: BALLET MANILA’s GISELLE

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A day before Ballet Manila’s CEO and Artistic Director Ma’m Lisa Macuja Elizalde‘s birthday, a fire broke out in the facilities of Star City and damaged the two Theatres that served as home to Ballet Manila for almost two decades. The Star Theater reduced to ashes and damaged the Aliw Theater, two venues close to her heart as these had been personal gifts from her husband Fred Elizalde. A tragic incident which happened just 17 days before the scheduled shows of Giselle, the second Ballet Manila’s production for their 24th season, originally has playdates of October 19 & 20. The next day, Ma’m Lisa announced on her facebook page that the Cultural Center of the Philippines (CCP) offered the venue grant of their Main Theater. Ms. Margie Moran also called to offer and lend the sets and backdrops of Ballet Philippines for Giselle. Ms. Maan Hontiveros and Jeffrey Solares gave them a discount for the Manila Symphony Orchestra. And finally the show goes on and got the playdate of October 17 at the Main theater of the CCP.

Despite of grievances and sorrows, Ma’m Lisa keeps sending positive messages and always says the phrase “WE WILL RISE LIKE A PHOENIX”. She even made it printed in her shirts as a statement. Last thursday, Giselle was successfully presented at the CCP supported by many friends, most from and within the Ballet community.

“Ballet Manila was born in 1995 with nothing but youthful ideals, big dreams, and 12 fearless dancers led by our Artistic Director, the late Eric V. Cruz. We come before you tonight, 57 fearless dancers strong with artistic direction shared between myself and my fellow dreamer, ever-reliable partner, and faithful friend, Osias Barroso. We may be homeless for now, but we are determined to rise like a phoenix and rebuild, to be even more committed and determined to continue our mission and vision of bringing ballet to the people and more people to the ballet.” –Ma’m Lisa on her speech before the show. 

Principal dancers Joan Emery Sia played Giselle and Elpidio Magat as Albrecht, Mark Sumaylo played as Hilarion, Akari Ida as Myrtha, Nicole Barroso and Joshua Enciso as the peasant couple, accompanied by more than 50 Ballet Manila dancers. Music performed by the Manila Symphony Orchestra under the baton of Maestro Alexander Vikulov.

Here are some of my captured images from the historical and lovely presentation of Ballet Manila’s GISELLE at the CCP:

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For further announcements and updates regarding Ballet Manila’s upcoming shows. Follow their Official Social Media accounts on facebook, twitter and Instagram. Also visit their official website at www.balletmanila.com

* Photographs by Erickson Dela Cruz © 2019

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Performance Photos: Ballet Philippines’ A Midsummer Night’s Dream

Ballet Philippines’ A Midsummer Night’s Dream (2019)

A Midsummer Night’s Dream reimagined by Carlo Pacis, is the second offering in the Ballet Philippines Golden Year’s repertoire. An enchanted world awaits in a delightful comedy showcasing the genius of William Shakespeare, With the music of Felix Mendelssohn, Scenery and additional costume design of Eric Cruz, And lighting by Jay Aranda.

Here’s an exclusive peek at the some performance photos of Ballet Philippines’ staging of A Midsummer Night’s Dream.
 Photographs by Erickson Dela Cruz

Ballet Philippines’ A Midsummer Night’s Dream runs from October 11 to 13 in the Main Theater of the Cultural Center of the Philippines.

October 11, Friday, 8PM
October 12, Saturday, 2PM
October 12, Saturday, 7PM
October 13, Sunday, 2PM

 

Connect to Ballet Philippines online through the following social media networks:
Facebook: www.facebook.com/balletphilippines
Instagram: @balletphilippines
YouTube: balletph
Official Website: www.ballet.ph

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News: CARLO PACIS REIMAGINES A MIDSUMMER NIGHT’S DREAM FOR BALLET PHILIPPINES’ GOLDEN SEASON

Ballet Philippines _Dancers _2

The genius of William Shakespeare inspires Hong Kong-based choreographer Carlo Pacis’ magical and reimagined interpretation of A Midsummer Night’s Dream.

His early days can be traced back to dancing on the Main Theater Stage of the Cultural Center of the Philippines (CCP) in the 80’s as the dream child of Esther Rimpos in Anton Juan’s Yerma for Ballet Philippines’ Likha. He would then graduate as Valedictorian and Outstanding Artist in Dance of Batch Delarama (’93) from the Philippine High School for the Arts, and after graduating with a BFA in Dance with First-class Honours from The Hong Kong Academy for Performing Arts (HKAPA) in 1998, he joined the Hong Kong Ballet as a senior soloist. He received the Hong Kong Dance Alliance Award in 2002 for his technical artistry and the depth of his dramatic reading of roles and in 2006, the company was invited to perform his work, There’s a Fly in This Soup, at the 1st Asia Pacific Ballet Festival held in Seoul, Korea. He created the additional choreography in Act I for the company’s production of Swan Lake in August 2007 as Choreographic Apprentice under John Meehan and in October that same year he choreographed for Opera Hong Kong’s production of Aida, which also toured to Seoul.

Ballet Philippines’ 50th Season welcomes Carlo Pacis as he reimagines A Midsummer Night’s Dream, the second offering of the company’s Golden Season repertoire.

In 2009, Pacis earned his Master of Fine Arts in Dance degree from HKAPA and his work for Ballet Philippines, Shifting Wait, won the Gawad Buhay 2010 Philstage Award for Outstanding Choreography for a Dance Production. His full-length work of A Midsummer Night’s Dream for Ballet Philippines also received five accolades from Gawad Buhay 2013, including the awards for Outstanding Modern Dance Production and Outstanding Choreography for a Dance Production. He was again awarded in 2017 for Outstanding Choreography for a Dance Production from Philstage for his work with Ballet Philippines, Weighted Whispers. Pacis was also the Commissioned Choreographer for the competition solos of The Royal Academy of Dance Genée International Ballet Competition when it was held in Hong Kong in August 2018.

Pacis declares it is a joy for him to come back to Manila and revisit this ballet. He shares, “I am thrilled and humbled that A Midsummer Night’s Dream has been included in Ballet Philippines’ 50th Season.

Felix Mendelssohn’s classic score is merged with this neo-classical spin on the classic tale, breathing new life to the enchanting story about fairies and sprites wreaking havoc on the fates of young lovers trying to find each other through the dark forests of love under the light of the moon. Pacis says in his choreographer’s notes: “Perhaps it is this fascination and preoccupation we have about love that enables the artists of Ballet Philippines to so easily delve into the roles.”

According to Pacis, love is the most prominent theme in Shakespeare’s A Midsummer Night’s Dream. Seemingly inescapable and being the great equalizer, it overlaps the royal, common, and supernatural characters in the story. He adds, “At a time when indifference, prejudice, and hate are all too common, it is the arts that can bring us to who we are and remind us of who we can be. I hope that our rendition of A Midsummer Night’s Dream can help us all to remember what joy there is in love and that we all have the ability to love, no matter where we are from.”

Ballet Philippines’ homegrown talents essay roles in the delightful comedy, A Midsummer Night’s Dream by William Shakespeare.

As Ballet Philippines celebrates its 50th anniversary, the company presents this delightful comedy as the second offering in its golden season, following the resounding success of its season- opening production, the iconic ballet, Swan Lake.

An enchanted world awaits audiences through A Midsummer Night’s Dream, showcasing the genius of Shakespeare and music of Mendelssohn, as well as the choreography of Pacis with scenery of Eric Cruz.

Ballet Philippines’ A Midsummer Night’s Dream show dates and schedules:

Ballet Philippines’ A Midsummer Night’s Dream runs from October 11 – 13, 2019 at the CCP Main Theater.
Show dates and schedules are as follows:
October 11, 2019 | 8:00 PM
October 12, 2019 | 2:00 PM & 7:00 PM
October 13, 2019 | 2:00 PM & 7:00 PM

Get your tickets exclusively at TicketWorld (891-9999), CCP Box Office (832-3704), or Ballet Philippines Box
Office (551-1003) or online at https://bit.ly/2OCgDnS as well as in all Ticketworld outlets.

For more information, connect to Ballet Philippines online:
Facebook: www.facebook.com/balletphilippines
Instagram: @balletphilippines
YouTube: balletph
Official Website: www.ballet.ph

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NEWS: CATS ADDS TWO MORE WEEKS TO THE MANILA SEASON

CATS The Musical 2019 – Joanna Ampil banner v2

Due to overwhelming popular demand, producers have just announced that 2 more weeks have been added to the Manila season. The sold-out international production of CATS The Musical will be playing in Manila for a strictly limited season, from 6th of November to December 1st at The Theatre at Solaire.

Ms. Jo Ampil (Photographed by Erickson dela Cruz)

World-renowned theatre star and the Philippines’ very own Joanna Ampil reprises her role as Grizabella. Joanna Ampil has performed in several West End musicals, including Miss Saigon, Jesus Christ Superstar and Avenue Q, and she played the role of Fantine in Les Misérables in London.

Joining her in the cast are Luke Fraser Yates, George Hinson, Gavin Eden, Kirsty Ingram, Elizabeth Futter, Sally Frith, Erica-Jayne Alden, Amy Whittle, Ellie Young, Holly Willock, Danielle Cato, Gabrielle Coca, Cian Hughes, Rhys Batten, Thomas Inge, Mukeni Nel, Lloyd Davies, Abigail Dever, Alexandra Wright, Elly Shaw, Liam Buckland, Lee Nicholson, and Brian O’Muiri. Resident director is Dane Quixall. Further casting to follow.

Based on T.S. Elliot‘s Old Possum’s Book of Practical Cats, Cats first returned to the West End in December 2014 reuniting the original creative team – Director Trevor Nunn, Associate Director and Choreographer Gillian Lynne, Designer John Napier and Composer Andrew Lloyd Webber. Following a second season at the London Palladium in 2015 and a UK Tour in 2016, the production embarked on an international tour in 2017 and now continues to tour the world throughout 2018 and 2019.

On just one special night of the year, all Jellicle cats meet at the Jellicle Ball where Old Deuteronomy, their wise and benevolent leader, makes the Jellicle choice and announces which of them will go up to The Heaviside Layer and be reborn into a whole new Jellicle life.

Cats, one of the longest-running shows in West End and on Broadway, received its world premiere at the New London Theatre in 1981 where it played for 21 record-breaking years and almost 9,000 performances. The production was the winner of the Olivier and Evening Standard Awards for Best Musical. In 1983 the Broadway production became the recipient of seven Tony Awards including Best Musical, and ran for eighteen years. Since its world premiere, Cats has been presented in over 30 countries, has been translated into 15 languages and has been seen by over 73 million people worldwide. Both the original London and Broadway cast recordings won Grammy Awards for Best Cast Album. The classic Lloyd Webber score includes Memory which has been recorded by over 150 artists from Barbra Streisand and Johnny Mathis to Liberace and Barry Manilow.

The international tour of the Cameron Mackintosh and The Really Useful Theatre production of CATS is again presented by David Ian Productions. RCBC Bankard is a proud sponsor of the 2019 Manila season of CATS.

For more information Please Visit:

www.catsthemusical.com

 

 

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CCP Presents NeoFilipino 2019: AR[RES]T

Neo Filipino 2019 – AR[RES]T

NeoFilipino 2019: Ar[res]t is a dance show that presents expressions of the contemporary Filipino through the dancing body featuring choreographers Ava Villanueva Ong, Biag Gaongen, Georgette Sanchez-Vargas, and JM Cabling, in collaboration with composer Krina Cayabyab, mixed-media installation artist Manny Montelibano, theatre director Tuxqs Rutaquio, and writer Gianne Sanchez-Sanson. The show is directed by renowned choreographer and director Denisa Reyes, with Myra Beltran as artistic consultant and Jay Aranda Lighting Designer.

An initiative of the Cultural Center of the Philippines and the culmination of the CCP Choreographers Series, NeoFilipino is a collaborative platform that bridges dance with other artforms and aims to express the voices of Filipino artists and their views of society. With the theme Ar[res]t, this year’s program will highlight the power of dance to seize focus, to arrest a crowd in a frenzy, and to pierce through the noise to arrive at the truth that lies inside the body.

“If we says Cinemalaya, it refers to Films or Movies, as Virgin Labfest is Theatre. Now, We have Neo Filipino and it refers to Dance.” says CCP Vice President and Artistic Director Chris Millado during the press conference.

Aiming to become the prime mover of contemporary dance expressions in Philippine society, the CCP Choreographers Series was envisioned by series directors Denisa Reyes and Myra Beltran with Nes Jardin. The series starts with (1) WifiBody.ph, a competition for emerging choreographers; (2) Koryolab, a laboratory and showcase of experimental dance pieces by mid-career choreographers; and (3) NeoFilipino, a venue for established choreographers to create and stage major works in collaboration with artists of other art forms

The first tier of the three-part platform CCP Choreographers’ Series, WifiBody.ph is a competition for the solo-duet form, believing that the intimacy and conciseness of these forms pushes choreographers to bare their choreographic vision.
The second tier, Koryolab, is a laboratory and research platform for the development and presentation of experimental dance pieces by mid-career choreographers in a black box space mentored intensively by the pioneers in contemporary dance.

NeoFIlipino serves as a culminating third tier of the series and showcases the finest progressive and innovative works in contemporary dance choreography. It is a platform for Filipino choreographers to make dance the central force, the impetus, and the muscle in collaborating with the other art forms: music, visual arts, literature, theatre and film.

ORDER AND DISORDER

Choreographer: Ava Villanueva-Ong
Music: Krina Cayabyab

“The day I gave birth to my eldest son was the same date my mother gave birth to me.
Everything changed when I became a mother. My body, sleeping hours, food I had to intake and the way I see life at present. Before it was all about dancing and the idea of me proving to people I am this great artist. But now, I worry about different things such as the future and what will it be like for my sons. Will it become worse or better for them to live in?

Artists have different voices. Our choreographies are our instrument to voice out what we would like to say. The piece I created is a piece I would like to dedicate for my two little boys, Dylan and Jacob.

It is a piece about Hope. It is present in the most mundane and the most fundamental of places. We can find it within ourselves and we can be inspired by factors outside ourselves as well. This piece hopes to show hope for everything we are hoping for.”

TATAK: TA-TU

Choreography and Film Direction: Biag Gaongen
Collaborator: Manny Montelibano

“Skin tattoo is a cultural mark(er) that identifies a specific community such as the Igorots of Kalinga. Apo Whang-od, a Kalinga woman in her 90s is the oldest known tattoo artist in the Cordillera region. Like Whang-od, several Cordillera men and women in her generation wear impressive tattoo designs. Lately, Whang-od had gained immense popularity outside of Kalinga. People would trek through rough terrains to get tattooed in the traditional way.

Putting on tattoo is a ritual that inflicts pain in the body. One could say that having profuse tattoo indicates courage.

While Whang-od’s tattoo is sought out by a growing number of non-Kalinga natives, the branding of Igorots as “indigenous people” resurfaced. I am bothered by the ill-defined meaning/s attached with the term.

Being identified as someone who belongs to the indigenous people from Sagada, Mountain Province had been both an advantage and a disadvantage. Studying and living in Los Banos and Metro Manila, for years, my Igorot ancestry had been utilized by institutions I have been involved with. I am proud to represent a culture deemed pure Filipino (a shifting and developing identity that these institutions have been pursuing all the while). However, it is very unsettling when Igorot culture is treated as a relic exhibited on a museum shelf. A living culture when perceived to have been frozen in time will have its bearers subjected in the same way- unrecognized in the present; crucial issues that affect the lives of the people will thereby be dealt as matters that dwell and should simply be left untouched in the past.

Practices from Cordillera which include tattoo art and folk dances had been explored and exploited by many to assert the Filipino identity. In effect, has it empowered the contemporary Cordillerans? In the relentless efforts of Filipinos to define and re-claim what is truly “Filipino” through the “indigenous people”— culture ends up as someone’s prized souvenir from a bygone era.

In my dance piece, images and symbolisms associated with Cordillera’s tattoo culture will be explored on film and live performance which will be directed, choreographed and performed by myself. Manny Montelibano will be collaborating with me on various aspects of the film; and Jose Centenera Buencamino will compose an original music. Tatak:Ta-tu is ten to twelve minutes long multi-media show.”

 

ARRHYTHMIA

Choreographer: Georgette Sanchez

“When I created ARRHYTHMIA for Ballet Philippines’ 50th Anniversary, I did not exactly know where my choreography was centered on, or where it was leading me to. I put together whatever my body was creating, and let my dancers follow from one step to the next.

Once I had something to show, my sister Gianne watched the rehearsal and interpreted what it seemed to look like and feel like from her point of view. My creation, in her eyes, was a moving picture of a human heart.

I want to dramatize what people go through each day, which leads their own human heart to beat accordingly. While other hearts beat for love and life, there are others that beat faster because of anger, or slower because of weakness. There are some even, that can barely beat at all.

When there is no blood to pump, the heart experiences arrest. The irony of it is that, when the blood is too strong to handle, the heart also experiences arrest. It is a challenge to keep that balance amidst all of life’s challenges, be in a state of calm and equilibrium. Pressures in life are inevitable. The pressure to cope up with others…the pressure to push one’s self physically and the pressure to be a somebody.

Yes, beyond all these and many more, we hope to find our own balance and not be held by our own heart’s arrest.

ARRHYTHMIA, now a lengthened version of my piece for BP’s 50th, has become an artwork come to life, of the entirety of the human heart. It’s strength, it’s weaknesses, it’s calm, and it’s arrest.”

 

ANG LIHIM NI LEA

Choreography: JM Cabling
Production Design: Tuxqs Rutaquio

“From WiFI Body 2014, to KoryoLab 2017, and now NeoFilipino 2019, my excitement to be the first choreographer to “graduate” from CCP Choreographers Series brings me to a lot of ambitious ideas. But after several attempts to come up with a bolder creation, or a highfalutin concept, it still brings me back to ask, “What do I really want to say?”

I envisioned doing work that is similar to children’s storybooks – simple storytelling, visually engaging, with themes children could comprehend easily but, at the same time, adults would be able to discuss profoundly.

With my collaborator, Sir Tuxqs Rutaquio, we decided to do a dance adaptation of Ang Lihim ni Lea, a Filipino children’s story by Augie Rivera with book illustrations by Ghani Madueño. It was published in 2007 by Adarna House and Soroptimist International of Hope Baguio. It is a story about child sexual abuse.

I personally think the material is something I can take on as a challenge because I really want to learn and explore new ways of storytelling. The theme of the story is also personal because I want to express my stand on the issue of abuse of power. In times when power lies in the hands of abusive people, every opportunity to be defiant is important.”

 

NeoFilipino: Ar[res]t runs from Oct. 25 to 27, 2019 at the Tanghalang Aurelio Tolentino, CCP, at 7pm on the 25th and 27th, and 2pm and 7pm on the 26th. Tickets, which are prized at Php500, can be purchased at https://tinyurl.com/y3xcw5hx or reserved through the CCP Box Office 832-3704 and Ticketworld at 891-9999. 20% discounts apply for Students, Senior Citizens, PWD, Government and Military Personnel.

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