Philippine dance

Nicanor Abelardo), Cultural Center of the Philippines (CCP). With support from Folklorico Filipino, Bayani- han Philippine Dance Company, and selected dancers from Cebu Ballet Center. Cast: Mary Anne Garcia and Nini Gener (Mir-i-nisa), Odon Sabarre (Tasmi), Antonio Fabella (Achmed), Tony Llacer (Datu), Tina Santos (Slave), Julie Borromeo (Pink Pearl), Tina Santos (White Pearl and Queen of the Undersea), Eddie Elejar (Consort), and Felicitas Layag-Radaic (Black Pearl). In its more or less original version, Act II was restaged for Ballet Philippines on September 1979 by Odon Sabarre and Lucy Layag de los Reyes. Act I of this three-act ballet (The Triangle) revolves around the rivalry between two Muslim princes of different tribes, Tasmi ("noble and strong") and Achmed ("aggressive and boastful"), for the hand of a princess, Mir-i-nisa. Ceremonial entertainment is pre- sented before the royal court of the datu and his many wives with a special slave dance and other court dances. Although Mir-i-nisa favors Tasmi and consorts with him in the woods, she cannot make a decision. A mock combat set between the tribes gets heated up, so the datu has to intervene. He drops a black pearl into the sea which should be recovered by whoever wanted to be worthy of his daughter. Act II (The Underwater) is a fantasy with vari- colored pearls guarded by their respective nymphs.

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The pink pearl dancers cascade like running waves, the blue pearl dancers flow serenely on, and the white stalk and turn sharply. The black pearl is in a closed shell guarded by a sultry, almost jazzy, nymph, but Achmed seductively persuades her to give him the choice pearl. Earlier on, Tasmi had struggled with sea creatures and monsters but found no pearl at all. Act III (The Victor) shows Tasmi coming to shore tired and wounded. He is attended to by Mir-i-nisa who realizes he is the one she truly loves. But Achmed returns triumphant and declares himself the worthy man. The next scene is the celebration for the wed- ding, with Mir-i-nisa kept away in a high chamber, to be sought by her groom. In the tribal parade, the unhappy Mir-i-nisa is brought face to face with her groom. After many are surprised to find out that her groom is not Achmed but Tasmi, the datu explains that he actually threw not a pearl but a ball of black salt into the sea, and Tasmi proved to be the honest man. Mir-i-nisa was completely rechoreographed by Eric V. Cruz for Dance Concert Company, backed by some folk dancers and the UP Filipiniana Dance Com- pany, for performances at the Meralco Theater on 28 Nov 1976, at the University of the Philippines (UP) Theater on 1 Dec 1976, and at the CCP on 1 Jan 1978. Arturo Cruz also designed new costumes, sets and lights. Dancing Mir-i-nisa was Heidi Domingo; Tasmi,

MISA FILIPINA

(Filipino Mass). 1984. A ballet for the mass. Sce- nario, choreography, and costume design, Basilio; music (a capella in Latin), Ryan Cayabyab. Premiered by Dance Theater Philippines on 15 Dec 1984 at Puerta Real, Intramuros, Manila in practice costumes. The ballet follows the structure of a Catholic Mass, with sections called "Kyrie," "Gloria," "Credo," "Sanctus," and "Agnus Dei." The story line narrates the martyrdom and resurrection of a central character called the Man in White. "Kyrie" is an exhortation for mercy. Like the music that starts with an alto solo, soon joined by other voices, a file of dancers spills out in various directions, urgent in their pleas. The dancers weave in and out, crouched low or stretched up in supplication. With diminished energy, they gather into a line down- stage. "Gloria" starts quietly. In turns, the dancers run and turn to break away. The music builds up, the dancers form a cross pathway, and a Man in White bush jacket, a cloak and with a white flag rushes in. Everyone hails him. Soon left alone, he kneels. Four men, dressed in blue and silver as soldiers, hesistantly confront him, then assault and pin him down. Ironical- ly, to the music's exultation, the Man in White is

MUTYA NG DAGAT

stabbed by his own banner-staff as "Jesu Cristo" is sung. The soldiers raise the flag to signify their own victory and abandon his body. "Credo" is the simplest section. Ten women stretch a scarlet cloth and walk a solemn procession from the wings or through a church aisle. Like many Veronicas, they wipe the man's face, and prop him up with the red cloth. He falls again. As the music cres- cendos, the soldiers drive away the women and carry the body away. The women sustain each other and dance out their distress, but end with a whispered "Amen." "Sanctus" has the two men at the beginning re- joining the women's circle. The music and movement are full of high hosannas. The revived Man in White returns, now stripped down to his white trousers. He comforts the women, especially the four Marys. The ever-intensifying action climaxes in a tableau. Like its ponderous music, "Agnus Dei" begins emotively. Fol- lowing a canonic sequence, the dancers flagellate themselves. Ending in two distant lines, they tread towards each other to reach an invisible communion table with the Man in White at the head. As he slowly raises his arms, the communicants reach out to the audience, inviting them into the suggested sacrament. The ballet was dedicated to "Marcial Bonifacio," the alias Benigno Aquino Jr assumed when he re- turned to the Philippines and was assassinated in 1983. The Man in White is dressed as he was then, but universalized when stripped of his jacket. · It was previewed unfinished at Puerta Real on 21 Apr 1984 and in full at the University of the Philippines (UP) Church of the Risen Lord on 6 May 1984. It was performed on 30 Apr 1985 at the Manila Cathedral, before Jaime Cardinal Sin and Aquino's widow Corazon C. Aquino before she decided to run for presi- dent. It also celebrated the EDSA revolution in Pagdi- riwang, Bayan Ko (A Celebration, My Country) 24-25 May 1986, at the Manila Metropolitan Theater. In 1990 the UP Dance Company performed it at the Hong Kong International Festival of Dance Academies. A choreographed version of the Misa, also by Basilio, was done by the UP Concert Chorus in their 1983 international tour. • B.E.S. Villaruz

MUTYA NG DAGAT

(Muse of the Sea). 1950. Modern ballet in one act. Choreography, Anita Kane; music, Claude Debussy; costume design, Anita Kane and Asuncion de Castro. Premiered on 25 Feb 1950 at the University of the Philippines Theater. Cast: Milady Janario (Girl), Israel

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Gabriel (Hero), Julie Borromeo, Elizabeth Guasch, Serafina Guinto, Ester Rimpos, Tony Llacer, Herminio Maximo, Exequiel Banzali. Mutya also performed on 23 Mar 1961 at the Elizalde Hall, and during the 1966- 1967 Pamana Ballet national tour. The 1961 cast in- cluded Serafina Guinto, Herminio Maximo, Rene Dimacali, John Ting, Kristin Jackson. The Pamana Bal- let presented Greta Monserrat/Ester Rimpos (Girl), Eddie Elejarfreofilo Pila/Lito Capina (Hero) with Lucio Sandoval, Luis Layag, Solita Santamaria, Conrad Tiolengco, Bert Escolastico, Kristin Jackson, and Florence Perez. Debussy's powerful seascape inspired the choreographer to create this one-act ballet based on her memories of the fishing villages around Paracale an~ Gumaos in Camarines, where she spent her early childhood. Early in the morning, the fishers depart for the sea. There is a flurry of activities as the town goes about the business of the day. The women and chil- dren settle down for the long wait for the return of the fishers. Follows the storm and the anxieties it brings. The men return but for one, he who has saved all but has lost his own life. A great calm comes after the tragedy, and the folk accept their fate as people of the sea. • A. Kane

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MUYBRIDGE FRAMES

MUYBRIDGE/FRAMES. Photollke and staccato Images of men In motton are captured by Denlsa Reyes' Muybridge/Frames, 1982. (Rudy Vldad, Ballet Philippines Collection)

flowing into poses as in a multiple exposure. The third segment returns to the initial focused energy of the first movement with the shadows corning back, and ends with the men in a muscle-beach pose facing camera flashbulbs before the final blackout. This piece was premiered during the CCP Dance School's 14th Summer Dance Workshop under a differ- ent title, Photography, A Gentleman's Honor, the title of the Philip Glass music which was used originally for the ballet. It was included in the program for Ballet Philippines' performances at the 50th anniversary celebration of the American Dance Festival in North Carolina in June 1984. Filipino composer Fabian Obispo was commissioned to write a totally new score for the ballet. The revised version in Obispo music became very popular among American critics who described it as "delightfully unpredictable and original" and "the company's best work, and the only one with a thor- oughly modern look." It has since continued to reap rave reviews in countries like the Union of Soviet Socialist Republics, China, France, Singapore, Taiwan, Japan, Hong Kong, and India. • E. Vida

NOLI DANCE SUITE

1955. Modern ballet in one act and five scenes. Choreography, Leonor Orosa-Goquingco; music, Antonio Molina, Felipe Padilla de Leon, Lucrecia Kasilag, Leonor Orosa-Goquingco and Luisa Torres, and Nonato. Stories, Jose Rizal. Premiered on 17 Jun 1955 at the GSP Auditorium. Interpreters of the roles have been: Rosalinda L. Orosa and Jose R.L. Orosa, Erlinda Benetua and Gilbert Perez, and Rachel Goquingco and Ronnie Alejandro (Maria Clara and the Leper); Rerny Yrastorza and Cesar Mendoza, Anita Buendia and Juan Singson (Salome and Elias); Ofelia Gaerlan (Sisa); Eric Abad Santos and Alvaro Arayata (Basilio); Diana Javier, Marcia Ruiz, Lydia Lim Gangionco (The Gos- sips); Carmen Blanco, Nita Hontiveros, Rachel Goquingco, and Regina Goquingco (Maria). The story of the one-act ballet includes several episodes from Rizal's Noli me tangere (Touch Me Not). "Maria Clara and the Leper" is set on the eve of the town fiesta, when Maria Clara meets the town leper. Not having anything else to give, she drops before him the diamond-studded locket Kapitan Tiago has but recently presented to her. The choreographer has changed the site from the street to the church interior. Music is by Antonio Molina. "Salome and Elias," based on an unpublished chapter of the Noli me tangere, shows Salome, the sweetheart of Elias as

NOLl DANCE SUITE

the unhappy victim of misfortune and oppression. A young barrio lass, she awaits Elias. He arrives, and the two dance the joy of reunion. A friend signals that civil guards are near. Elias leaves. Music is by Felipe Padilla de Leon. "The Gossips" is a terpsichorean caricature of Rizal' s hermanas which is inspired by a single line from the novel: "Sisa felt their icy stare and heard their whispers." Music is by Lucrecia Kasilag. "Sisa" shows the demented Sisa ·after Crispin's death," smiling, singing, and talking with the creatures of wood and field." She runs after a butterfly, falls, and bruises herself. The moments of her deepest anguish return. These are eased by the sweet recollection of a babe in her arms. Suddenly, out of the shadows, she imagines seeing the evil Dona Consolacion, who, to make her dance, has whipped her with the Alferez's whip. She relives the episode. Sisa's son Basilio, who has been looking for her for days, witnesses the scene. She does not recognize him. She tries to flee but is too ex- hausted. She falls. Basilio approaches and finds his mother dead. The boy throws his arms around her and weeps. Music is by Leonor Orosa-Goquingco and Luisa Torres. "Asalto for Maria Clara" opens with Maria Clara at the azotea, sad and alone. It is her birthday, and none of her friends seem to have re- membered. But her friends give her an asalto or sur- prise party. The bits of innocent merriment are typical of Maria Clara's "gang." Music is by Nonato. "Maria Clara and the Leper," to Molina's Preludio y Romanza, was premiered at the Escritores Hispanis- tas Velada de Gala on 18 Jun 1946, at the old Villarnor Hall of the University of the Philippines. (Sergio Osrnefia who was in the audience commented: "Boni- to, Bonito!") In 1965, Orosa-Goquingco created a new "Maria Clara and the Leper" to Molina's Malikmata (Phantasm), and added "Salome and Elias," "Sisa," "The Gossips," and "Asalto for Maria Clara." Noli Dance Suite represents the dance part in Orosa-Goquingco' s production of A Rizal Sketchbook, which also includes her original play, My Son, Jose, and some songs by Jose Rizal. In 1957, Noli Dance Suite was performed with Orosa-Goquingco's The Firebird and The Clowns, by the Music Promotion Foundation of the Philippines at the Far Eastern Uni- versity Auditorium in a triple bill entitled A Ballet and Dance Concert. "Asalto for Maria Clara" became part of Fili- pinescas: Philippine Life, Legend and Lore in Dance, and was shown, together with a recreation of "Maria Clara and the Leper," to a modern-day audience in Celebrazione '89, which marked Orosa-Goquingco's golden year as choreographer. Both performances earned standing ovations. • L. Orosa-Goquingco

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THE NUTCRACKER

1892. Ballet in two acts. Choreography, Lev Ivanov; music, Peter I. Tchaikovsky; libretto, Marius Petipa. Premiered on 18 Dec 1892 at Maryinsky Thea- ter, St Petersburg, Russia. First British production, Nicolas Sergeyev for the Sadler's Wells Ballet; first American version, William Christensen for the San Francisco Ballet, 1944. A shorter version was done by the Ballet Russe de Monte Carlo in New York, 1940. In 1955, Alexandra Danilova and Michael Maule led a season of "Great Moments of Ballet" at the Far Eastern University on 1-3 October in Casse-Noisette with Filipino dancers organized by the Anita M. Kane School of the Classic Dance and the Arts Council of the Philippines. From 1958 on, Kane herself produced the ballet in Manila. Among her Sugarplum Fairy dancers were Felicitas Layag-Radaic and Greta Monserrat. Remedios de Oteyza also presented the dances from Act II. In 1962, Fe Sala-Villarica premiered for Cebu Ballet Center a version by Maria Nevelska, after Ivanov, in the Cebu Coliseum. Emma Sanchez was the Sugarplum Fairy and Mario Recto the Nutcracker Prince. Kane's last Philippine production was in 1965 under the auspices of her school and the Manila Theatre Guild, a shorter ver- sion as the evening also featured Charles Dickens' A Christmas Carol which Kane directed. Ester Rimpos was the Sugarplum Fairy and John Ting the Nutcracker Prince. In 1984, Vella Damian choreographed a complete version for Dance Concert Company at Puerta Real, with Yvonne Cutaran as the Sugarplum Fairy and Ricardo Ella as the Prince. At the Cultural Center of the Philippines, Ballet Philippines presented Act II, "The Kingdom of the Sweets" in 1971, with choreographers Basilio, Antonio Fabella, and Luis Layag, and dancers Ester Rimpos and Eddie Elejar; in 1973, with choreographers Eddie Elejar, Tony Llacer, Corazon Generoso-Inigo, Antonio Fabella, Cener Caringal, and Norman Walker (Chinese Tea Dance: Franklin Bobadilla), and dancers Linda Di Bona and Robert Brassel, or Effie Nanas and Tommy Sabarre; in 1975, with the same choreographers but without Walker (Caringal took over his number) and Llacer (Fabella replaced his number), and dancers Robin Haig and Nonoy Froilan. In 1976, Ballet Philippines presented a full version by Alfred Rodrigues, featuring lead dancers Effie Nanas or Ester Rimpos, and Nonoy Froilan. This was repeated in 1977 with additional choreography by Nanas and Caringal, with dancers Rimpos and Rey Dizon, or Nanas and Froilan. In 1978, the same choreographic credits were shared, with Armin Wild, and the setting was Spanish Philippines, specifically,

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OF COCKS AND KINGS

1958. Dance drama in one act. Scenario and choreography, Rosalia Merino-Santos, based on a short story by Alejandro R. Roces; music, Lucrecia Kasilag (Fantasie on a Four-note Theme) arranged by Edith Albaladejo-Dizon; costume design, Esmeralda Josue; lighting design, Justo Montemayor. Premiered by the FEU Modem Experimental Dance Workshop (later called Group) at the Far Eastern University (FEU) Auditorium on 19 Dec 1958. The most recent revival

was on 20 Sept 1979 by Ballet Philippines at the Cultu- ral Center of the Philippines, with set and costume design by Salvador Bernal, and lighting design by Monino Duque. The story of this one-act dance drama revolves around an ancient Filipino king whose crown is co- veted by his two sons. When the king falls ill, the rivalry turns heinous, as the siblings plot to hasten their father's death. The god Bathala is so incensed that he turns the two princes into roosters. The brothers as roosters, continue to fight, especially in the traditional cockfight. The modern ballet occasions the delineation of their characters and motives, their schemes and conflicts. Morli Dharam believed that the piece evoked "the universal sentiments of love and hate and avarice and terror and awe but all within a unique Philippine con- text" and thought it to be "a contribution to the world's treasury of dance dramas" (Dharam 13 Dec 1958) • B.E.S. Villaruz

PAMALUGU

(Cleansing Ritual). 1989. Folk dance choreogra- phy. Choreography, Ramon Obusan; music, Ramon Obusan Folkloric Group; set and costume design, Ramon Obusan; lighting design, Dennis Marasigan. Premiered by Ramon Obusan Folkloric Group on 1 Sept 1989 at the Tanghalang Nicanor Abelardo, Cultu- ral Center of the Philippines. At dawn, the Bagobo tribe goes out to a river. A priestess waves areca flower branches (symbol of a

PAMALUGU

new and purified life) to call the gods to attend the ceremony. She offers betel nut on an altar-shrine. Stepping out grandly, the Bagobo chief calls on the gods, Tigayama, Protector of Men, and Tamulak Man- obo, Creator of Nature. With bowed heads, his sons approach him and the priestess at the shrine. The priestess dips her areca branches in the river and washes or annoints the men's long hair and backs nine times. She repeats the ritual as the men face East. Other men come forward in fives, also to be washed and annointed. Meanwhile, the chief's sons wash themselves in the river, slapping the water off their old clothes and hair. They take off their clothes, and allow them to drift away on the river, together with their dirt, disease, misfortunes, and sins. In a rite of passage which transforms boys into men, and men into bagani (warriors), the men taken on a long shield in each hand and imitate the flight of young eagles against the wind, as though against a powerful enemy. Boldly, they run forward and back, fall and stand, testing their strength and courage. Winning the contest, they are endowed with new and intricately decorated tops and pants prepared by the women who bring them in on poles. The men put on turbans, which are worn only by the bagani. Dancing and feasting follow, and the planting of a durian seed. As everyone goes home, the priestess "closes" the forest scene, until the next pamalugu or cleansing ritual. • B.E.S. Villaruz

THE NUTCRACKER. The celebrated Christmas ballet, The Nutcracker, originally choreog- raphed by Lev Ivanov, was restaged by Ballet Philippines In 1989. (Rudy Vldad, Ballet Philippines Collection)

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PIANO CONCERTO NO. 1 IN B MINOR

1976. Abstract ballet. Choreography, Remedios de Oteyza; music, Peter I. Tchaikovsky; costume design, Arturo Cruz. Performed by Hariraya Ballet Company at the Main Theater (now Tanghalang Nicanor Abelardo), Cultural Center of the Philippines (CCP). Cast: Nida Onglengco, Rita Garcia, Gina Katigbak, Malou Maglutac, and Maiqui Maiiosa. The last four important performances of the ballet were in 1976, during the Nuit du Ballet Classique at the CCP; in 1977, for the Divertissement Gala with Maniya Barreda and Burton Taylor for the Ballet Fed- eration of the Philippines at the Folk Arts Theater; in 1978, in the Tribute to Remedios de Oteyza program at the Meralco Theater; and in 1979, with Ballet Philip- pines at the CCP. Considered the last important piece of Remedios de Oteyza for the Hariraya Ballet Company, this ballet is in the so-called abstract style, following the structure and dynamics of the first movement of the Tchaikovsky concerto. Similar to De Oteyza's one-movement Grieg Piano Concerto in A Minor, it has more contemporary touches. This 'black and white' ballet was representa- tive of what many consider her best work. In 1976, Leonor Orosa-Goquingco observed that "de Oteyza's choreography to Tchaikovsky's Piano Concerto demonstrated her preoccupation with classi- cism." This author added: "It is in this kind of massive architectonics that Ms Oteyza is masterful at drawing out brisk flow and lambent lines from soloist (particu- larly female) and exact and exciting running forma- tions from the corps de ballet." • B.E.S. Villaruz