By Mark Andrew Francisco
Dancers clad in filipinianas and camisa de chino, modified Moslem-inspired costumes and, outfits akin to the pintados – one might find Ballet Philippines’ Neo-Filipino another walk down history lane. But as the danseurs with exultant faces start to prance to the rhythm of the ensemble amplified by brilliant lighting, one would find his eyes glued on the stage.
As a finale of Ballet Philippines’ 39th season, Neo-Filipino is divided into three parts: “Ulaging – Daog-dog Sa Sang Libong Kulog,” “Amada,” and “KatiTaog.”
Choreographed by Alden Lugnasin, “Ulaging – Daog-dog Sa Sang Libong Kulog” tries to unmask the environmental problems faced by the Lumads in Mindanao – logging, mining wastes, and eviction. Dressed in nature-colored outfits, the dancers’ movements bear a resemblance to tribal wars, as if struggling to save their territories from harm. The fusion of the contemporary moves and ethnic music by Roberto Aves, vocals from Grace Nono, adds drama to the almost flawless performance.
Taking inspiration from the late National Artist for Literature Nick Joaquin’s “Summer Solstice,” the second set titled “Amada” delves into the enigma of the “Tadtarin” ritual. From the choreography of Alice Reyes with musical scores of the late National Artist for Music Lucresia Kasilag., “Amada” opens with a couple, a man dressed in pure white coat and pants and a lady, in a black dress, dancing in a less grounded manner, and more “balletic” than the first one. Soon after, the corps de ballet emphatically marches in, with females dressed in filipinianas and males in camisa de chino. The scene becomes gloomy when the lady in black dress is transformed during the ritual (represented from changing the dress to red). From there, the female danseurs dominate the stage with the males wearing the tapis to show subservience. The lead’s red dress enhanced the dance work by adding dynamism, thus emphasizing the women’s ascendancy over men.
Ballet Philippine’s artistic director Max Luna III makes sure the performance will end on a high note. “KatiTaog” draws inspiration from the Pangalay, the traditional fingernail dance of the Tausugs in Southern Mindanao. The live act from Kalayo (formerly Pinikpikan band) added to the festive mood since the fingernail dance is customarily performed during weddings and other jovial events. Aside from the bright lighting, adding to the mood is the striking metallic costumes of the dancers. Those of the men resemble boxing shorts, exposing their torsos to show dexterity and flexibility while doing dance routines resembling martial arts. The females, on the other hand, have body-fit costumes so as add emphasis to the dances that involve the shaking of the hips. True enough, the performance ended in a festive manner for it received a standing ovation from the ecstatic audience.
Although the story of the presentation is, at first, not easy to decipher, appreciation is very much deserved by the dancers in all the parts of the performance. Their moves, including their gestures, greatly expose the emotions that the dances require. The excellent lighting in all parts perfectly complemented the set design in each performance. Say for example, the use of green and blue lights in “Ulaging” helped showing the environmental issues the performance tried to depict.
All aspects considered, Neo-Filipino is an obvious attempt at enlivening the cultural heritage of the country.
As a finale of Ballet Philippines’ 39th season, Neo-Filipino is divided into three parts: “Ulaging – Daog-dog Sa Sang Libong Kulog,” “Amada,” and “KatiTaog.”
Choreographed by Alden Lugnasin, “Ulaging – Daog-dog Sa Sang Libong Kulog” tries to unmask the environmental problems faced by the Lumads in Mindanao – logging, mining wastes, and eviction. Dressed in nature-colored outfits, the dancers’ movements bear a resemblance to tribal wars, as if struggling to save their territories from harm. The fusion of the contemporary moves and ethnic music by Roberto Aves, vocals from Grace Nono, adds drama to the almost flawless performance.
Taking inspiration from the late National Artist for Literature Nick Joaquin’s “Summer Solstice,” the second set titled “Amada” delves into the enigma of the “Tadtarin” ritual. From the choreography of Alice Reyes with musical scores of the late National Artist for Music Lucresia Kasilag., “Amada” opens with a couple, a man dressed in pure white coat and pants and a lady, in a black dress, dancing in a less grounded manner, and more “balletic” than the first one. Soon after, the corps de ballet emphatically marches in, with females dressed in filipinianas and males in camisa de chino. The scene becomes gloomy when the lady in black dress is transformed during the ritual (represented from changing the dress to red). From there, the female danseurs dominate the stage with the males wearing the tapis to show subservience. The lead’s red dress enhanced the dance work by adding dynamism, thus emphasizing the women’s ascendancy over men.
Ballet Philippine’s artistic director Max Luna III makes sure the performance will end on a high note. “KatiTaog” draws inspiration from the Pangalay, the traditional fingernail dance of the Tausugs in Southern Mindanao. The live act from Kalayo (formerly Pinikpikan band) added to the festive mood since the fingernail dance is customarily performed during weddings and other jovial events. Aside from the bright lighting, adding to the mood is the striking metallic costumes of the dancers. Those of the men resemble boxing shorts, exposing their torsos to show dexterity and flexibility while doing dance routines resembling martial arts. The females, on the other hand, have body-fit costumes so as add emphasis to the dances that involve the shaking of the hips. True enough, the performance ended in a festive manner for it received a standing ovation from the ecstatic audience.
Although the story of the presentation is, at first, not easy to decipher, appreciation is very much deserved by the dancers in all the parts of the performance. Their moves, including their gestures, greatly expose the emotions that the dances require. The excellent lighting in all parts perfectly complemented the set design in each performance. Say for example, the use of green and blue lights in “Ulaging” helped showing the environmental issues the performance tried to depict.
All aspects considered, Neo-Filipino is an obvious attempt at enlivening the cultural heritage of the country.
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