Philippine dance
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194 March 1991, he attended a specialist's course in light- ing design and technology in London through a British Council grant. As a cultural exchange visitor, he went to China in 1991, and to France in 1992 as a visitor of the French Ministry of Foreign Affairs. He is noted for his lighting design for numerous stage productions. For Ballet Philippines, Rama, Hari (King Rama) and La lampara (The Lamp), 1980, Giselle, 1982, Carmina Burana and Muybridge/Frames, 1983, Romeo and Juliet and Carmen, 1984, Te Deum and Fire- bird, 1985, Nijinsky, 1987, and Siete Dolores (Seven Sor- rows), 1988; for Dulaang Kabataang Barangay, Santa Juana ng mga Kural (Saint Joan of the Farm), 1978; for Manila Hotel, Doon Po Sa Amin (Back Home), 1978, and Manila, Manila ... As Time Goes By, 1982; for Bulwa- gang Gantimpala, Biyaheng Timog Oourney South) and Likha Mangarap (Creation-Dream), 1984; for the Singapore Dance Theater, their inaugural concert, Begin- nings, 1988; for Tanghalang Pilipino, Botong, 1989, Lara- wan (Portrait of the Artist as Filipino), and Lusak (Lower Depths), 1990. He also designed the lights and provided technical direction for Dulaang UP's M. Butterfly and Mga Bakasyonista sa Tag-araw (Summerfolk), 1990; for Lab., Projekt, dance in performance and video choreographies of Enrico Labayen, 1991-1992; and for PETA's Miserere Nobis and Sebiong Engkanto (Sebio the Enchanted One), 1992. For the CCP Women's Desk, he designed both the lighting and the sets of Daragang Magayon (Beautiful Maiden), 1992, and the lighting of Trilohiya (Trilogy), 1993. He has written a manual on lighting design, Some Thoughts on Lighting and Perform- ance: The Making of a Salt Solution Dimmer Prototype, published by the CCP in 1992. • M.L. Maniquis CEBU BALLET CENTER Founded in 1951 in Cebu City by Fe Sala-Villarica, it is probably the only training center for classical dance, or the first, to be established outside Manila. The Center subscribes to an education- al program that will "produce artists, not automatons; teachers with high artistic standards; and choreog- raphers who are responsive to modern trends yet are respectful of history and tradition." In 1963, dancers from the Center formed the Queen City Junior Ballet Company as its performing arm. The Center has provided training in classic dance to students, some of whom, like Nicolas Pacafla and Noordin Jumalon, have earned scholarships abroad and em- barked on successful careers in dance or dance teaching. In 1977, the Center was given an award or recog- nition during the National Ballet Festival in Manila. During its 30th anniversary celebration in 1981, the Center launched a series of lecture-demonstrations, perfor- mances in classic ballet and folkloric theater, dance-film showings, and an alumni gathering. • E. Alburo CORONEL, JoY GERONIMO b. Manila 9 Nov 1951. Dancer, actress, choreographer. The daughter of business executive Pacita Geronimo and architect Leopoldo Coronel, she is married to dancer-actor James Gregory Paolelli. She holds a bachelor of arts in English from Assumption Convent and another bache- lor of arts in fine arts, major in advertising, from the University of Santo Tomas. Her dance training was wide ranging: ballet with Joji Felix-Velarde, Eddie Elejar, Cesar Mendoza, and Israel Gabriel; modern dance with Alice Reyes, Antonio Fabella, Norman Walker, and Pauline Koner; and Polynesian dance with Nati Bass. In New York, USA, she trained in the schools of Martha Graham and Alvin Ailey, with Douglas Wassell, Lawrence Rhodes, Richard Thomas, Ron Forella, Jojo Smith, Nat Home, Chuck Kelly, and Luigi. She studied acting with Chuck Golden and Aida Limjoco, and singing with David Brooks and Edna Meesek Mason. Coronel has performed with Dance Theater Phi- lippines, Ballet Philippines, and Julie Borromeo Dance Company. In New York she danced with Saeko Ichinoche, Flower Hujer Dance Theater, Philippine Dance Company of New York, Folklorico Filipino, All Nations Dance Company, Kanikapila Polynesian Com- pany, and the Radio City Music Hall. These troupes brought her to Europe, Central America and the Carib- bean, the Middle East, Asia, Australia, and all over the United States. As an actor, she performed in Broadway presentations like Wuthering Heights, Helen of Troy, Snow White and the Seven Dwarfs, and Orpheus De- scending. She founded and choreographed for the Philip- pine Contemporary Dance Ensemble in New York, creating ethnic-derived dances like Handurawan, Salip, ltik (Goose), Fandango, Yakan, Muslim, Kulin- tangan, Hatinggabi (Midnight), and Pag-ibig (Love). She staged Philippine dances for the Asian-American Dance Theatre and the All Nations Dance Company. For the Cultural Center of the Philipines (CCP) sum- mer dance workshop, she choreographed Old Avenue, Cabaret, Dancin', Tango Argentino, and for the Metro- politan Dance Theater, Kulintangan. Since her return to Manila in 1989, she has taught for the Metropolitan Dance Theater, Philippine Ballet Theater, CCP Dance School, Shoemart Dance Studio, Dance Arts Studio, and the Dance Alliance in National Choreographic Endeavor or DANCE, and is artistic director for Prima Modarina. • B.E.S. Villaruz CRUZ
CosMOPOLITAN BALLET AND DANCING SCHOOL Founded around 1927 in Manila by Luva Adameit, with her impresario-manager, G. Leibovitz, and pianist Ivan Sitnik. The school produced annual recitals that displayed a number of international character dances and some styl- izations of Philippine folk dances into ballet. Although there were other schools, such as those of Kay Williams, Carmen MacLeod, Olga Donstsoff, Vladimir Bolsky, Katrina Makarova, and Mara Selheim, Adameit' s school produced the distinguished dancers of the time and pioneer choreographers and directors who founded their own schools and companies. Among these were Leonor Orosa-Goquingco, Padta Madrigal-Warns, Remedios de Oteyza, Rosalia Merino-Santos, Inday Gaston-Maftosa, Joji Felix-Velarde, Chloe Cruz-Romulo, Elsie Uytiepo- Torrejon, and Esperanza Santos, who founded the Adameit Ballet School. • B.E.S. Villaruz CRUZ, ARTURO VALERA b. Pasay City 20 Apr 1933. Dancer, costume, set designer. He and choreo- grapher Eric V. Cruz are sons of Juan Cruz and Nati- vidad Valera. He studied fine arts at the University of the Philippines, where he obtained a business administration degree. Later he took up commercial arts at the University of Santo Tomas while studying ballet with Leonor Orosa-Goquingco and then with Remedios de Oteyza. Cruz first worked in a bank, then with couturier shops, before starting to create his own designs and joining Karilagan International. He first designed costumes and sets for Orosa- Goquingco' s production of Fire bird and The Clowns at the Far Eastern University (FEU) auditorium. Later he designed for Hariraya Dance Company, the Alice Reyes and Modem Dance Company, and still later, for Conchita Sunico's productions at the restored Metro- politan Theater. For Reyes' company, which became Ballet Philip- pines, Cruz designed costumes for Amada, ltim Asu (Onyx Wolf), Noche Buena (Christmas Eve Celebration), At a Maranaw Gathering, Jewels, and Negro Spirituals, 1970; furu-Pakal (The Enchanted Kris), 1971; Kulas na Batugan (Kulas the Lazy), Anting-anting (Amulet), Ang Sultan (The Sultan), Orpheus Descending, 1973; Prince of the Pagodas and The Nutcracker, 1976; Prelude, 1977; Mir-i-nisa Act II and Tchaikovsky Piano Concert No 1, 1979; and Snow White, 1988. He did the sets of Kulas na Batugan, TheNutcracker, and Snow White. More recent- ly, he designed Philippine Ballet Theater's Paquita, Camille, Merry Widow, Coppelia, and Filipino ballets Vinta, Ritual Bonds, The Offering, La lampara (The Lamp), and Company. 195 ARTISTS
His memorable works in theater were for the oper- as Aida, La Boheme, Carmen, Tosca, La Gioconda, Turandot, Pearlfishers, Mephistofele, Cavalleria Rusti- cana, and I Pagliacci. He has also done commissioned productions such as Ibong Adarna (Adarna Bird), Noli me tangere (Touch Me Not), El filibusterismo (Subver- sion), and Florante at Laura (Florante and Laura). • M.G. Castro CRUZ, ERIC VALERA b. Ermita, Manila 6 Jun 1940. Dancer, choreographer, costume/scenic/lighting designer. His parents are Juan Cruz and Natividad Valera, and he is the brother of costume/set designer Arturo Cruz. He holds bachelor's and master's degrees in fine arts from the University of the Philippines (UP). Cruz started dance training with Leonor Orosa- Goquingco as a member of the Filipinescas Dance Company in 1958. By 1961, as its principal dancer, he was touring internationally with the company. He con- tinued training with Remedios de Oteyza and Inday Gaston-Maftosa as a member of the Hariraya Dance Company, where he was cast in leading roles. In 1970, Cruz and Vella Damian founded Dance Concert Company (DCC) where he started to do choreography. Cruz was UP artist-in-residence for theater production design (1980-1983), teaches interior design and clothing technology at the UP College of Home Economics, where he held the Golden Jubillee Professorial Chair, 1989-1990. He has written a book, The Terno: Its Development and Identity as the Filipi- no Women's National Costume, published by the col- lege in 1982. As artistic director, he choreographed Mink- usiana, Panaginip (originally Reverie to J. Massenet, now to A. Molina), Ang Katipunero (originally Sparta- cus pas de deux to A. Khatchaturian), Visions in Blue (A. Vivaldi), Mir-i-nisa (E. Pajaro) in 1978, and the full-evening The Interior Castle (about St Theresa of Avila, to music by Manuel Maramba) in 1982. Cruz created most of Damian's roles in Don Quixote, Car- men, 1976; Medea, 1978; and the full-evening La Gita- na, 1982, and Camille, 1983, both to music by Jeffrey Ching. He and Damian have brought their dancers to Guam, United States, and Beijing, China, with artists from Ballet Philippines and Philippine Ballet Theater. He has designed most of the costumes, sets and lights for DCC. He also lights for Philippine Ballet Theater. • M.L. Globio/M. Ojeda/B.E.S. Villaruz 196 CRUZ-ROMULO, CHLOE HIZON b. Manila 6 Feb 1932. Dancer, teacher. Born to concert pianist Caridad Hizon and Cornelio Cruz, Cruz-Romulo is the widow of Gregorio Romulo, with whom she had three children. She had her early education at St Theresa's College and Assumption Convent. At Georgian Court College in New Jersey, in the United States, she stu- died music, major in piano, and dance. She began ballet at age four with Luva Adameit, and during WWII took lessons with Paul Szilard, continuing with Remedios de Oteyza after the war. In New York, she studied at the Ballet Arts Studio at Carnegie Hall. She also specialized in Spanish dance, having trained with Josefina Sabater and Teresa Ecusias at age 8 to 12. She went to Madrid, Spain, and performed there with Puro Reyes and the Sevillas. In 1952-1956, Cruz-Romulo taught ballet and Spanish dance in Silay, Bacolod, and Iloilo cities. Later, in 1964, she developed a specialized program using dance as therapy for patients recovering from surgical operations. She also got involved in stage musicals. Her longest-running performance was as Eliza Doolittle in My Fair Lady (16 performances), directed by James Reuter SJ. She also served as president of the Manila Sym- phony Society and took charge of its concerts at the Luneta Park. She worked with Teodoro Valencia to get sponsors for the free concerts and to give regular sala- ries to the orchestra members. As a director of Friends of the CCP, she has handled its special events since 1989. • M.L. Maniquis CULTURAL CENTER OF THE PHILIPPINES See INDEX. CUTARAN, YVONNE FERNANDEZ b. Quezon City 16 Sept 1968. Dancer. Cutaran is the daughter of Jose Cutaran and Angelita Fernandez, a dancer from Kalibo, Aklan. She graduated from high school at the Montessori School in Pasay in 1986. At seven she trained in ballet with Vella Damian. She also trained under William Morgan and Ballet Phi- lippines. She was Princess Florine and Fairy of the Golden Vine in The Sleeping Beauty for Ballet Phil- ippines, 1983; and the Sugarplum Fairy in The Nut- cracker Suite with Ricardo Ella in Puerta Real for Dance Concert Company, 1984. In 1986, she was an apprentice with Les Grands Ballets Canadiens in Montreal, Canada, and since 1990, one of its principal dancers. With the latter company, she danced major roles in Tudor's Pillar of Fire, Jooss' Green Table, Balanchine's Serenade, Tchaikovsky Pas de Deux, and Divertimento No 150, the works of Lar Lubovitch and Nacho Duato, Coppelia, The Nutcracker, Raymonda, and the newly reconstructed La Chatte. In 1990, she danced with Miguel Gomez in the International Ballet Festival in Cuba, and in 1991 toured Asia with Les Grands Ballets. In 1992 she guested with the Phil- ippine Ballet Theater in Coppelia. • B.E.S. Villaruz D DAMIAN, AuGUSTUS FoNTANILLA b. 7 Mar 1964. Dancer. Damian is the son of Augustus Damian and Naomi Fontanilla, and the brother of dancer-stage manager Ianne Damian. From 1981 to 1983, he studied architecture at the University of the Philippines (UP). He first trained in ballet with his aunt, Vella Damian, and then with prominent teachers in the Philippines and abroad. In the Philippines he danced principally with Dance Concert Company (DCC), and was a mem- ber of the UP Filipiniana Dance Group and of Ballet Philippines. Abroad, he was principal dancer with the ballet in the opera houses in Kiel, 1984-1986, and Theater am Gartnerplatz in Munich, 1986-1987, both in Germany, and with Maurice Bejart's Ballet of the 20th Century from Brussels to Lausanne, 1987-1992. In 1992, he joined the Basle Ballet in Switzerland. His roles with DCC include the Cavalier in Paquita, Escamilla in Carmen, Manrico in La Gitana, and Gaston in Camille; with Ballet Philippines, Mercutio in Romeo and Juliet; with Dance Theater Philippines, Peter in Tchaikovsky Fantasy and Mercury in Ode to Botticelli; in Kiel, the title roles in Dorian Gray, Peer Gynt, Romeo and Juliet, and the Prince in The Nut- cracker; with Bejart's company, Gunther in Ring um den Ring, Shiva in Malraux ou Ia Metamorphose des dieux, the title role and the Phoenix in Firebird, and the (male) Chosen One in Rites of Spring. • B.E.S. Villaruz DANCE CONCERT COMPANY DAMIAN, VELLA CARACTA (Eva Estrella Da- mian) b. Manila 8 Nov 1938. Dancer, teacher. The daughter of Augustus Damian Sr and Isidra Caracta, she finished two bachelor's degrees in music, major in music education at St Joseph's College, and major in piano at the University of Santo Tomas (UST). She started dancing at 15, under a scholarship with Remedios de Oteyza. In 1966-1968, she studied at Robert Jaffrey's American Ballet Center and the School of American Ballet in New York City, USA. Among her teachers were Alexandra Danilova, Andre Eglevsky, Stanley Williams, Violette Verdy, Lillian Moore, Hector Zaraspe, and Dennis Nahat. At the same time, she taught music and dance at a youth center of the New York police department. She also toured the United States as lead dancer of La Meri's theater group based at the Hunter College Playhouse. Returning to Manila in 1968, she taught at the school of the Hariraya Ballet Company. She was chosen by Sulamith Messerer to do the Philippine pre- miere of the grand pas from Paquita in 1969. Full- length ballets have been created for her: The Haunted Ballroom by De Oteyza, and Carmen, Medea, La Gita- na, Camille, all by Eric Cruz. The latter was brought to Beijing, China, in 1990. Damian founded the School of Ballet and Dance Arts in 1969, and Dance Concert Company in 1970, with Cruz and Exequiel Banzali. In 1979, she spearheaded the First National Ballet Festival that gave birth to the Ballet Federation of the Philippines. She is a founder of Philippine Ballet Theater, member of its artistic council, and rehearsal mistress for three seasons. Damian has received grants to attend a choreog- rapher's workshop in Indonesia, 1986, and to observe schools and companies in the United Kingdom and New York City, both in 1988, and France, 1991. In 1982, she was named outstanding alumna of the UST, receiving also the Joven Tupas Award for excellence in arts and culture. • M.C. Garcia DANCE CONCERT COMPANY (DCC) Founded in 1970 by Vella Damian, Eric Cruz, and Exequiel Banzali. The DCC was the performing arm of the School of Ballet and Dance Arts, which was started in 1969 by Damian. It participated in the Cultural Center of the Philippines' (CCP) Festival Four and Balletfest, the Metropolitan Theater's Sayaw Sining, and sea- sons of the Puerta Real Evenings. It also had its own concert series at the Metropolitan. In 1980, the com- pany performed in Guam for the Philippine Independ- ence Day Celebration and for the "Spirit of America Celebration" in July. 197
ARTISTS Its repertoire is made up of ballets by its resident choreographer and artistic director Eric Cruz, as well as the works of other Filipino choreographers such as Remedios de Oteyza, Damian, Basilio, Felicitas Layag- Radaic, and Antonio Fabella, and standard classics by Petipa, Ivanov, Coralli, Gorsky, and Bourmeister. Among its significant productions, all choreographed by Cruz and featuring Vella Damian in the title roles, are Carmen, 1976, to music by Bizet; Medea, 1978, to music by Bartok; La Gitana, 1982, and Camille, 1983, the last two with music by Jeffrey Ching. In 1990, selected dancers of the company joined with members of Ballet Philippines and Atlanta Ballet in a performance at Beijing of La Gitana, together with the Central Ballet of China. In the same year, DCC was a recipient of the dance venue grant from the CCP. Its dancers have included Augustus Damian III, Cesar Ongkingko, Ricardo Ella, Vivencio Samblacefto, Yvonne Cutaran, Myra Beltran, Ida Beltran, Gina Katigbak, Jinn Ibarrola, Ramon Victoria, Osias Barroso, Robert Policarpio, and Rosalie Carreon. The DCC merged with other companies in 1986 to form Philip- pine Ballet Theater. • M.C. Garcia DANCE EDUCATION AssociATION OF THE P HILIPPINES (DEAP) Founded in 1982 by the Phi- lippine Normal College (PNC), the DEAP was orga- nized during a seminar-workshop on dance at the PNC which was spearheaded by Carmen T. Andin, its current president. The association set the following objectives: to promote cooperation and understanding among teachers, experts, and enthusiasts in the im- provement of the quality of life through dance; to professionalize the teaching and administration of the dance and related fields; to provide a forum for local, national, and global issues in dance; to foster research activities in the field; and to support the formation and develoP.ment of national policies and programs in dance. The DEAP conducts national seminar-workshops every summer in coordination with the Department of Education, Culture and Sports, supported by the school providing the venue. These events have been held in Metro Manila, Batac, Ilocos Norte, 1989, and Lucena City, 1991. Membership has expanded from 57 in 1982 to over 500 in 1991. • C.T. Andin 198
DANCE THEATER PHILIPPINES (DTP) Found- ed in 1968 by Julie Borromeo, Eddie Elejar, and Felicitas Layag-Radaic. In July of that year, it debuted at the Rizal Theater in a production directed by Poul Gnatt. Its reper- toire included Gnatt and Russell Kerr's works, with the Philippine premiere of Bartok's Miraculous Mandarin and some Boumonville dances. Critic Anthony Morli called it "the first professional dance company we have." One of its ballerinas was Tina Santos. The next productions were mostly Filipino, like Borromeo' s Zag alas de Manila (Manila Maidens in Procession) and Kalingan, Elejar's Katakata Sin Rajah Indarapatra (Stories of Rajah Indarapatra), Layag- Radaic's Tanan (Elopement), and Luis Layag's Take Four to new music by Felix Padilla Jr. In 1969, the Cultural Center of the Philippines (CCP) commis- sioned Borromeo and Layag-Radaic to choreograph Eliseo Pajaro and Jose Garcia Villa's ballet Mir-i-nisa. Meanwhile, the company implemented its Cultural Outreach in Education or CORE that brought ballet to schools and communities in Metro Manila (including filling up the Araneta Coliseum), all the way to Cebu, Bacolod, and Zamboanga. This time the balletmasters were Tony Llacer and Israel Gabriel, who also danced and choreographed. After a hiatus, DTP was revived under Layag- Radaic's direction, with the premiere of Layag-Radaic- Pajaro's May Day Eve and Janacek-Basilio's The Rebels in 1971. Gradually, it based itself in Layag-Radaic's school of dance in St Theresa's College in Manila and Quezon City. Resident choreographers were Layag- Radaic and Basilio. Robin Haig performed in and pro- duced more ballets, including the classic Pas de Quatre. In 1975, DTP participated in the International Fes- tival of Youth Orchestras and Performing Arts in Aber- deen, London, and Cardiff where they were called "breathtaking," "the essence of great theatre," with "stunning professionalism." In 1979, they repeated the same success there as "a joy" and "a rare delight." They also appeared on Grampian television. From 1973 to 1986, DTP gave monthly perfor- mances on the Rizal Park stage under the National Parks Development committee headed by Teodoro F. Valencia. Between 1981 and 1983, it ran two full subscribed seasons at the Meralco Theater. Between 1984 and 1989, it was the resident dance company at the Uni- versity of the Philippines College of Music. All these developed dancers like Loulie Dalupan, Irene and Hazel Sabas, Emellie Rigonan, Sophia Radaic, Mary Anne Santamaria, Anna Villadolid, Lisa Macuja, Eloisa Enerio, Jonathan Terry, Roberto Clemente, and Vivendo Samblacefto Jr. It was also between 1980 and 1987 that Basilio took over as artistic director, who, since 1971, did more than 40 ballets for the company. Since the Asian Arts Festival in Hong Kong in 1980, he has choreog- raphed Bartok's Third Piano Concerto as Testament, Ryan Cayabyab's Misa Filipina (Filipino Mass), and Ramon Santos' Awit (Song), Aninag (Transluscence) and Muling Pagsilang (Rebirth). Other regular choreog- raphers were Tony Fabella, Gener Caringal, Lucy Layag- de los Reyes, Elejar, Borromeo, and Layag-Radaic. In 1986, the company paid tribute to Layag-Radaic at the Rizal Theater, hosted by Tina Santos. In 1988, it celebrated its 20th anniversary at Meralco Theater, featuring Giselle with Lisa Macuja and Nonoy Froilan. In 1989, it revived Mir-i-nisa at the CCP, again choreographed by Borromeo and Layag-Radaic. It fea- tured young ballerinas Mylene Saldana, Anna Marie Tirol, Rose Miranda, Katrina Santos, and guest Mela- nie Motus of Philippine Ballet Theater. Ballet mistress was Sonia Domingo. After 21 years, it gradually dimi- nished its activities. To the end, Layag-Radaic kept the company alive and nurtured many young dancers who earned their own places in national and international dance companies. • B.E.S. Villaruz DARANGAN CULTURAL DANCE TROUPE Founded in 1966 in Marawi City by Antonio Isidro, president of Mindanao State University (MSU). It aims to preserve and propagate the indigenous culture of Mindanao, Sulu, and Palawan and in this way pro- mote cultural integration. Its repertory covers songs, music, dances, rituals, and enactments of scenes from the Darangan epic and the folk life of the Maranao, Maguindanao, and other ethnic groups of Mindanao and Sulu, such as the Manobo, Bagobo, Higaonon, Tboli, Subanon, Tausug, and Badjao. Its director-choreographer is Henrietta Hofer Ele, assisted by Judy Naga-Lastimosa in dance and Aga Khan Guinar in music. Rebecca Morales researched the songs, Emily Marohambsar wrote the story lines, and Dionisio Orellana supervised the stage designs. MSU students who perform with the troupe are rigor- ously trained and receive scholarship benefits. They have toured the country several times and performed in Taiwan, Japan, Canada, and the United States. • B.E.S. Villaruz DATOC
DATOC, SALUD CABANOS b. Hagan, Cagayan 20 Sept 1930. Dancer, teacher. Datoc is the daughter of Alberto Datoc and Rosario Cabanas. At an early age, she trained in dance with Ka€the Hauser, and later in ballet and tap dance with Ricardo and Roberta Cassell at the Manila Ballet Academy. She received her elementary school teacher's diploma from the Philip- pine Normal School (PNS), a special diploma in physical education (PE) from the National College of Physical Education, a degree in education from the Far Eastern University, and a master of arts in health, physical education, and recreation from the University of California in Los Angeles, USA. She also took doc- toral courses at Columbia University, New York. She taught language, arts, and PE at vari_ous schools in Manila and then took charge of student teachers at PNS. She worked closely with National Artist Francisca Reyes-Aquino. From 1958 to 1961, she was president of the Philippine Folk Dance Society and dance director of its troupe. She was chairperson for plans on regional and national workshops on PE and recreation of the Bureau of Public Schools, a member of its research team on indigenous cultural resource materials as well as director of its dance troupe. She also directed the Orchesis at PNS. In 1966, she trained Peace Corps Volunteers in Stanford University, USA, in fitness, games, music, dance, and language. In 1973, she taught dance and recreation under the Bilingual Program of the US Department of Education in Ho- nolulu, Hawaii. From 1971 to 1978, she was a director of the Young Women's Christian Association (YWCA) in Brooklyn, New York. From 1977 to 1985, she was its program administrator over eight departments and in programs for women, nursery, afterschool, camps, etc. From 1985 to 1987, she was president of the So- ciety for the Advancement of Physical Education and Recreation. She was systems administrator in a New York hospital. Datoc is a member of the Asian-Pacific American Women in New York and was elected into the Kappa Delta Phi and Phi Delta Theta. She enjoyed several scholarships and fellowships including those from the University of California, Los Angeles, and Columbia University. She also received awards of merit from the Boy and Girl Scouts of the Philippines and from the YWCA of New York, USA. In 1991 she organized the Francisca Reyes-Aquino Scholarship Foundation in Manila. • B.E.S. Villaruz 199
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