Philippine dance
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PICTURES AT AN EXHIBITION 1940. A suite of dances. Choreography and cos- tumes, Trudl Dubsky-Zipper; music, Modeste Mussorgsky; picture backdrops, Hans A. Heimann (later with Robert Long for no 5 and added scenic design by Ernest Korneld in 1961). Premiered by the Manila Ballet Moderne on 22 Nov 1940 at the Manila Metropolitan Theater. Restaged in 1941, and after WWII, in 1952 and 1961. This suite of eight dances opens with a young woman· in resplendent finery visiting an exhibition. Her promenade serves as transition to present the eight pictures. The first, "The Gnome," reveals an 166
unearthly gnome half-hidden in the dense under- growth of a primeval forest. Its dance builds on de- liberate and slow lengthening of its body, as if trying to escape its own form. In contrast, "The Castle" finds a medieval scene and a sleeping troubador who awakens to four elegant yet delicate princesses. He has amorous dalliances with them, each one seemingly unmoved by his fleeting attention. Romantic lyricism is evoked through the unhurried, leisurely movements and pace of the Middle Ages. At the end, the princesses return to the castle, the troubador to his sleep, leaving the audience to wonder whether it was dream or reality. Easily the most impressive is "The Cart." It shows a haggard-looking Dubsky-Zipper in a deep lunge, dragging behind three men linked at various levels. Against a bare tree back- dropped by endless rows of barren, furrowed earth, she dramatically enunciates-in heavy, wearisome, seg- mented undulations-the hopelessness of the peasants in their toil. A spark of rebellion flashes, but hopeless- ness dispels the independent spirit. The cart symbolizes an eternity of toil. ''The Children in the Tuilleries" charms with its beribboned children in pastel shades, playing with a golden ball. Their energetic play develops into a petty quarrel, which is soon forgotten when they attend to the ball again. A sharp, cleverly paced comedy, "The Marketplace" captures the inherent energy of ven- dors and onlookers. To spite a finicky spinster, the ven- dors connive to ignore a light-fingered thief. The rousing pace and staccato movements build up to an unexpected finish, leaving the audience laughing and breathless. As respite, ''The Catacombs" captures the stillness and near- ritualistic mien of monks. In the silence of a Gothic crypt, the monks dance with minimal expression and move- ment. At the end, they dance with lighted candles which help to bring up the scene. In contrast, "The Witch" is vigorous. With her hair down and garbed in hues of orange, gold and black, Dubsky-Zipper as the witch effortlessly displays her extraordinary ballon. From a crouch, she leaps to uncoil her body in the air, head thrown back. Then she spirals her torso as her arms circle overhead, legs tucked underneath her. She runs around an immense cauldron with flames effected by dancers in black, arms with red and yellow strips, simulating flames. For a breather, three affectionate cats slither close to her. She tires of them, resumes her jumps, and returns to her smoking cauldron. The last painting, "The Great Gates of Kiev," is performed in formal balance and linear movements. These emphases are repeated in the silver decor on the skirt, sleeves, pockets, belt, and headdresses of the Cossacks. Sequential, straight arm movements, re- bounding points of the feet, and formal groupings symbolize the gates of Kiev. A.V. Hartendorp sums up his impression of the ballet: "One can hardly conceive of a program more inclusive in scope and more perfectly balanced than that offered, which ranged from the lyric, through the dramatic and comic with an unfailing sense of propor- tion and value in line, movement and color, and which throughout gave evidence of her most original genius" (Hartendorp Dec 1940). • C.G. Inigo ANG PILYA (Naughty Girl). 1988. Ballet in three acts. choreography, William Morgan; music, Ferdinand Herold and Peter Ludwig Hertel; scenario, Joven Velasco, from Jean Dauberval's La Fille Mal Gardee (The Unchaperoned Daughter); costume and set de- sign, Salvador Bernal; lighting design, Katsch S.J. Catoy. Premiered by Ballet Philippines on 18 Feb 1988 at the Tanghalang Nicanor Abelardo, Cultural Center of the Philippines. Cast: Lisa Macuja or Hazel Sabas (Lisa), Nonoy Froilan or Brando Miranda (Kulas), William Morgan (Simeona), Conrad Dy-Liacco (Alan), Jojo Lucila (Don Tomas). The plot is essentially the same as in the original ballet: a girl is urged by her mother to marry a rich man's stupid son; but she gets her way and marries her poor boyfriend. The setting is Lucban, Quezon, in the 1920s. The events transpire during the feast of the farmer's saint San Isidro Labrador, when the town is decorated with food products and the special kiping, ANG PILYA ANG PILYA. Choreographer William Morgan dances the role of the prudish Slmeona, and leads the maglalatik dancers In this rompous number from Ang Pi/yo, 1988, a Filipino adaptaHon of La Fille Mal Gardee. (Rudy Vldad, Ballet Philippines Collection) paper-thin transluscent rice fritters, brightly colored and shaped like leaves. Act I opens on Mother Simeona and her adventurous daughter, Lisa, who consorts with Kulas despite the mother's restrictions. Lisa's friends help her to escape every so often. But Simeona has plans for Lisa to marry Don Tomas' butterfly-chasing son Alan, who is quite "strange," except to Lisa's cousin, Ramona. A dance accentuating the tapis (overskirt) is performed in the first act. Act II features the feast and the procession, the maglalatik dance, and Simeona's flamenco from her sarswela days. Kulas and Lisa manage to be on their own, and Alan spots Ramona for himself. But a storm breaks out and everyone runs for cover. Act III opens with prepara- tions for the wedding. Simeona looks over Lisa's dress. Meanwhile baskets of farm products are brought into Simeona's house for the wedding. Sirneona leaves for a while but locks up the house. But the clever Kulas has hidden himself among the baskets and surprises Lisa. Hearing her mother's return, Lisa hides Kulas in her room. Suspicious, Simeona orders Lisa into her room, not knowing that Kulas is there. When Don Tomas and Alan arrive, the young lovers are found together in Lisa's room. After a fainting spell, Simeona has to agree to their wedding, and to Ramona and Alan's. Don Tomas then asks for Sirneona's hand. Triple wedding ends the ballet. Ang Pilya is the first Filipino adaptation of the original 1789 Dauberval ballet set in a French provin- cial town. The premiere of Pilya drew the following review: "Joven Velasco's adaptation of the 1789 La 167
MAJOR WORKS Fille Mal Gardee into Ang Pilya enlarged on the com- edy and commentary of the ballet. William Morgan, combining Hertel and Herold's scores, outsmarted himself with one of his most engaging choreographies, and with his own runaway portrayal of Simeona that tickled the February 18 to 20 audiences. With Act II, he truly won us with the most wit. The occupational maglalatik dance came on its own and expanded on Simeona's shawl-seducing flamenco; both charm like the clog dance in Frederick Ashton's classic" (Villaruz 27 Feb 1988). • B.E.S. Villaruz RAMA, HARI (King Rama). 1980. Rock opera ballet in two acts. Choreography and stage direction, Alice Reyes; music and musical arrangement and direction, Ryan Cayabyab; libretto, Bienvenido Lumbera, with English translation by Rolando S. Tinio; set and costume de- sign, Salvador Bernal; lighting design, Katsch S.J. Catoy. Premiered on 8 Feb 1980 by Ballet Philippines at the Main Theater (now Tanghalang Nicanor Abelardo), Cultural Center of the Philippines (CCP). Cast of dancers and singers: Nonoy Froilan and Robert Medina, and Basil Valdez (Rama); Ester Rimpos and Effie Naftas, and Kuh Ledesma (Sita); Butch Esperanza and Leo Valdez (Ravana); Edna Vida and Gigi Escalante (Soorpanakha). Accompanied by the CCP Philharmonic 168 RAMA, HARI. Rama (Nonoy Frollan) and Slta (Allee Reyes) dance their triumph In the 1980 staging of Ramo, Hart. (Rudy Vldad, Ballet Philip- pines Collection) Orchestra, session musicians, and ethnic percussionists. Other dancers who have portrayed these roles are: Alice Reyes, Manuel Molina, Gina Katigbak, Jun Mabaquiao, Jinn Ibarrola, Hazel Sabas, Sofia Zobel. Other singers: Ric Segretto, Jacqui Magno, Eugene Villaluz, Ray-an Fuentes, Roro Wijangco, Janet Sabas, Zebedee Zufuga, Louie Pascua, Bimbo Cerrudo, and Isay Alvarez. A Filipino modem rock opera ballet adaptation of the Indian classic, the Sanskrit epic poem The Ramayana, the ballet tells of the adventures of Rarna, prince and incarnation of the God Vishnu, who comes to earth to save the world from Ravana, the most power- ful of demons. It dramatizes his love for Sita, and the trials underlying before he becomes a mighty ruler. Act I opens with Rarna and his brother Lakshmana being warmly welcomed home by the people of the kingdom of Mithila. Later, the brothers hear that Sita, the beautiful daughter of King Janaka, is throwing a swayamwara, a contest by which a girl would choose a husband for herself. At the said occasion, Rama meets Sita, and he immediately falls for her. After passing a tough test given by King Janaka, Rama is wedded to Sita in a grand and royal ceremony. Meanwhile, the ailing King Dasaratha has already decided to pass on the crown to his son, Rama-a gesture that angers Kaikeyi, Dasaratha's third wife. Aided by the dubious Kooni, Kaikeyi plots to disrupt the coronation of Rama. In exchange for saving the king's life in the past, Kaikeyi demands that her son Bharatha be crowned king, and that Rama be banished from the kingdom. Dasaratha reverses his decision, and Rama is exiled with Sita and Lakshmana. Act II follows the journeys of the three exiles as they head for the woods of Panchavati, where the chameleon-like demon Ravana persistently attacks the lovely Sita, even as the impish Soorpanakha, Ravana's sister, wildly pursues Rama. Lakshmana mutilates Soorpanakha' s ears, nose and breasts; and Ravana, avenging his sister's mutilation and using various dis- guises, succeeds in abducting Sita. The aggrieved Rama seeks the help of Sagreeva, king of the monkey people in Kiskinda. The king, who is indebted to Rama who helped him regain his crown, orders his army and his general, Hanuman, to assist Rama in rescuing Sita from the lair of Ravana. The battle is later won by Rama, Sagreeva, Hanuman, and the monkey army. Rama kills Ravana and Sita is freed. In the end, the people of Mithila celebrate the return of Rama and Sita with Lakshmana, and their coronation as rulers of Mithila. Alice Reyes interprets the ballet in the rock opera medium in two acts and nine scenes, as a way of introducing the Indian classic to contemporary Filipino audiences. In Rama, Hari, instead of separating the singers from the dancers, as in her previous hits, Tommy and Tales of the Manuvu, Reyes challenged herself by weaving them in and out of dancers and dances. She also used various elements of Asian thea- ter, such as the shadow play and various hand props, as well as Indian dance movements interpreted in modern choreography. Librettist Lumbera wrote a script with varying levels of usage: an elevated diction for the protagonist and Filipino slang for the demons Ravana and Soorpa- nakha. The theatrical reason for this, he explains, was that "the intrusion of a very contemporary diction could jar the audience into perceiving that the ancient epic of India is also 'now' and 'Filipino'." Complimenting Lumbera's libretto is Cayabyab's musical score, which incorporated the Filipino kundiman, Indian melodies, Asian percussion and popular tunes in his first rock opera ballet composition. Designer Bernal, in keeping with the theme of Rama, Hari, designed sets and cos- tumes in a stylized Oriental look which were further enhanced by Catoy' s lighting design. After its premiere presentation in Manila, Rama Hari was performed by Ballet Philippines at the Musi- ka Malaysia Festival in May 1981; the Sixth Hong Kong Festival of Asian Arts in October 1981; the Sun Yat-sen Memorial Hall in Taipei, Taiwan in November 1982; and during the Visayan-Mindanao Cultural Circuit Tour, sponsored by CCP, in June 1982. • E. Vida ROMEO AND JULIET RECONSTRUCTION BALLET 1951. Ballet in one act and 13 scenes. Choreogra- phy, Anita Kane; music, Marcelino Carluen Jr; cos- tume design, John Dolby. Premiered on 8 July 1951 at the Far Eastern University (FEU) Auditorium. Cast: Lucio Sandoval (Spirit of the Philippines), Shirley Santos (Spirit of Virtue), Angelita Barredo (Spirit of Evil), Florencio Andrade (Spirit of Indecision), Jose Limlengco (Spirit of Urban Society), Amelia Medina (Spirit of Rural Society), Carmencita Barredo, Marinela Katigbak, Julia Roxas, Roberto Escolastico, Herminio Maximo. Accompanied by the Filipino Youth Sym- phony Orchestra conducted by Carluen with Consorcia Mercado at the piano. Kane worked closely with Carluen on this ballet. She put into dance the exciting times of the reconstruc- tion period after WWII. After the devastation of war, the people grab at any opportunity to survive. Then, they are swept by the forces of evil and seek profit at any cost. Finally, they embark on constructive indus- try to rebuild their lives. The spirit of virtue, unmask- ing evil, lets the true spirit of the Philippines grow in statesmanship and prosperity. The scenes are: "Destruction and Devastation," "The Will to Live as the Victory Parade Passes," "The Dance of Youth," "Revival of Society," "Degradation of Society," "Restlessness of Society," "Evil Un- masked Is Blind,"" Awakening of State," "The Revival of Morality," "Industry Establishes a Normal Society," "Statemanship Restores the Sight of Repentant Evil," and "Consciousness of God." • A.M. Kane ROMEO AND JULIET 1981. Ballet fn 3 acts and 12 scenes. Choreo- graphy, Alice Reyes, based on the tragedy by William Shakespeare; music, Sergei Prokofiev; set and costume design, Salvador Bernal; lighting design, Monino Duque. Premiered by Ballet Philippines on 14 Feb 1981 at the Main Theater (now Tanghalang Nicanor Abelardo), Cultural Center of the Philip- pines. Cast: Gina Mariano and Maricar Drilon Ouliet), Nonoy Froilan (Romeo). This three act-ballet in 12 scenes closely follows Shakespeare's plot. Alice Reyes uses a brisk pace, de- vising ways of changing sets and properties without intervals. Her intricate dance patterns for the group dances were cleverly woven into Prokofiev's musical score. Her choreography heightened the pathos of this great Shakespearean tragedy, especially in the difficult death scenes. 169
MAJOR WORKS To highlight the choreographer's translation of the plot into dance, Bernal's designs of the costumes and set used color, material, and shapes that evoked the romanticism and tragedy of the story. In the catacomb scene, for instance, the ancestral statues of the Capulets loomed over the lovers in a scale that demon- strates the large social forces that dominate their lives. Duque's atmospheric and poetic lighting, particularly in the chapel and balcony scenes, and in Juliet's funer- al procession in the Capulet crypt, highlighted the concept of Bernal's design, and both add to the drama- tic commitment of the ballet. The magic spell cast upon Manila balletomanes by this production of Romeo and Juliet moved the audience to give Reyes a standing ovation for her first choreographic work in the classical ballet idiom. Gina Mariano and Maricar Drilon essayed the role of Juliet with Nonoy Froilan as Romeo in the 1981 production. Subsequent productions featured Ester Rimpos and Nonoy Froilan, alternated by Toni Lopez Gonzalez and Brando Miranda, 1984, and Anna Villadolid and Nonoy Froilan, alternated by Nicole Gaston and Conrad Dy-Liacco, 1988, for the roles of Romeo and Juliet. Basilio Esteban S. Villaruz wrote on the ballet, "As much of the work in Romeo and Juliet was achieved by the friends, the men and women of the Capulets, and the men and women of the Montagues . . . It was in their encounters that the story's conflict gained dimen- sion. It was in their execution that the choreography proved its power'' (Villaruz May 1984). • B.E.S. Villaruz SIETE DOLORES (Seven Sorrows). 1988. Modem dance in nine sec- tions. Choreography, Denisa Reyes; music, Fabian Obispo; libretto, Nicanor G. Tiongson; set and cos- tume design, Salvador Bernal; lighting design Katsch S.J. Catoy; visuals, Jaime Zobel. Premiered on 18 Feb 1988 by Ballet Philippines at the Tanghalang Nicanor Abelardo, Cultural Center of the Philippines. Cast: Edna Vida (!nang Bayan), Conrad Dy-Liacco, Jun Mabaquiao, Sofia Zobel, Cecile Sicangco, Tina Fargas, Paul Ocampo, and Edmund Gaerlan (her children). Inspired by the seven sorrows of the Blessed Vir- gin Mary, the nine section-modem ballet shows Inang Bayan (Motherland, as the Philippine parallel to the Virgin) lamenting over the sorrows/problems faced by each of her seven children: the Youth, whose creativity and idealism are destroyed by the very social institu- tions (government, religion, education) which are sup- posed to protect and develop it; the Women, who still 170 have to liberate themselves fully from male chauvin- ism; the Politicians, who shift from one political party to another for as long as their own personal interests are served; the Artists, who are still forced to conform to aesthetic standards that have been set by Spain and America; the Peasants, who have been enslaved for centuries by a feudal order that bends and shapes them to fit traditional feudal roles; the Military, who have used violence and "macho" tactics on their own people to "preserve peace and democracy"; and the Workers, who are forced to be cogs in a huge profit machine controlled by capital rooted in the "old money" of the feudal 19th century. At the end of the exposition of each of the sections, Inang Bayan per- forms a dance exhorting her children to struggle free from the fetters that bind their own sectors, prefigur- ing the triumphs of each of her children and of the country as a whole. The performance ends as it began-with a child's continuing search for the truth that will finally set the people free. • E. Vida SINGKIL 1957. Folk dance choreography. Choreography, Lucrecia Reyes-Urtula; music, Lucrecia Kasilag. Premiered by Bayanihan Philippine Dance Company in 1957 in Manila. Lead dancer: Henrietta Hofer (Princess). The dance is based on an episode of the old Mara- nao epic poem, Darangen. The Prince Bantugan is noted for his amorous exploits. The diwata or guardian spirits disapprove of the libertine exploits of Bantugan and want him to settle down with a princess. The diwata decide to kidnap Princess Gandingan whom they would like Bantugan to marry, and bring her to an enchanted forest where Bantugan would be pas- sing. Passing by the forest, the prince feels an earth- quake caused by the diwata. Gandingan herself is ter- rified, and to save herself, she leaps, jumps, and hops from rock to rock. Bantugan notices that even in her fright, her movements are light and graceful. He falls in love with Gandingan, and saves her from dan- ger. As told by Maranao anthropologist Mamintua Saber, the dance imitates the graceful movements of Princess Gandingan as she leaps from rock to rock. Bamboo poles are struck together to imitate the crashing of rocks during earthquakes. Bayanihan's signature piece, Singkil, takes its name from the heavy metal anklets called singkil worn by Maranao princesses. It is also a Lanao court dance. Every young woman of royal blood is expected to learn this dance for her peers' entertainment, but never for the public. The traditional dance was taught to Reyes- Urtula by Princess Tarhata Alonto Lucman. • L.R. Urtula SISA
1978. Modern dance in one act. Choreography and costume design, Corazon Generoso-Iii.igo; music, Antonio Ruiz Pipo, William Walton, Mauricio Ohana; lighting design, Jose C. Generoso. Premiered by the UP Filipiniana Dance Group in March 1978 at the Uni- versity of the Philippines (UP) Theater. Sisa is based on the play by Amelia Lapeii.a-Bonifacio. UP premiere cast: Nadine Guytingco (Sisa), Douglas Nierras (Padre Salvi), Jinn Ibarrola (Basilio), Alex Lanag (Crispin), and Ma. Concepcion Alano, Alma Garcia, Leilani Ladera, Mercedes Locsin, Annette Malixsi (Koro, fisherfolk, and townspeople). It was restaged for Ballet Philip- pines on 20 Sept 1978 at the Cultural Center of the Philippines, with new music by Lucrecia Kasilag, cos- tume and set design by Salvador Bernal, and lighting design by Monino Duque. Cast: Alice Reyes (Sisa), Nonoy Froilan (Padre Salvi), Jinn Ibarrola (Basilio), Nes Jardin (Crispin), Edna Vida, Gina Mariano, Florence Perez, Emellie Rigonan, Malu Rivera, and Maribeth Roxas (Koro). The modern ballet highlights the transformation of the characters in Jose Rizal's Noli me tangere (Touch Me Not). In the novel, Sisa is mute and de- fenseless, in the mold of the downtrodden peasants in SIS A
the Spanish colonized Philippines while Padre Salvi, the antagonist, is the epitome of the arrogant coloni- zer, devoid of altruism and compassion. Drawing her picture for the Noli, playwright. Lapeii.a-Bonifacio re- surrected Sisa as vindictive and eloquent, and Salvi as troubled and repentant. The ballet opens with Padre Salvi looking for Sisa' s grave to seek atonement for his sins. In the manner of the noh, Sisa enters from the shadows, leading her two sons, Basilio and Crispin. They dance their thoughts and grie- vances, their bodies and arms often upturned to the heavens as if asking, "why?" They are linked to each other throughout, symbolic of the close bond between mother and sons. In the ensuing confrontation with Salvi, Sisa poignantly reviews, through merciless tirades, the events of her tragic life. She condemns Salvi to eter- nal unrest and warns the audience not to suffer in silence like her but to find their voices, declare their rights and finally recreate a free Philippines. True to the traditional noh, a chorus of women with sphinxlike faces weave in and out of the scenes. They are all-knowing, all-seeing, yet unmoved by the occurrences. The music combines the hispanic air and the emotion-filled, rhythmically diverse utai (the chanted text). The choreography follows the rhythmic patterns and moods evoked by the utai and added chants composed by Antonio Mabesa. • C. G. bi.igo SIETE DOLORES. Modem ballet has been used as a vehicle for com- menting on the social problems that plague the naHon's development, as In Denlsa Reyes' Siete Dolores, staged by Ballet Philippines In 1988. (Rudy Vldad, Ballet Philippines Co//ec#on) 171 k
the public. The traditional dance was taught to Reyes- Urtula by Princess Tarhata Alonto Lucman. • L.R. Urtula SISA
1978. Modern dance in one act. Choreography and costume design, Corazon Generoso-Ifi.igo; music, Antonio Ruiz Pipo, William Walton, Mauricio Ohana; lighting design, Jose C. Generoso. Premiered by the UP Filipiniana Dance Group in March 1978 at the Uni- versity of the Philippines (UP) Theater. Sisa is based on the play by Amelia Lapefi.a-Bonifacio. UP premiere cast: Nadine Guytingco (Sisa), Douglas Nierras (Padre Salvi), Jinn Ibarrola (Basilio), Alex Lanag (Crispin), and Ma. Concepcion Alano, Alma Garcia, Leilani Ladera, Mercedes Locsin, Annette Malixsi (Koro, fisherfolk, and townspeople). It was restaged for Ballet Philip- pines on 20 Sept 1978 at the Cultural Center of the Philippines, with new music by Lucrecia Kasilag, cos- tume and set design by Salvador Bernal, and lighting design by Monino Duque. Cast: Alice Reyes (Sisa), Nonoy Froilan (Padre Salvi), Jinn Ibarrola (Basilio), Nes Jardin (Crispin), Edna Vida, Gina Mariano, Florence Perez, Emellie Rigonan, Malu Rivera, and Maribeth Roxas (Koro). The modern ballet highlights the transformation of the characters in Jose Rizal's Noli me tangere (Touch Me Not). In the novel, Sisa is mute and de- fenseless, in the mold of the downtrodden peasants in SIS A
the Spanish colonized Philippines while Padre Salvi, the antagonist, is the epitome of the arrogant coloni- zer, devoid of altruism and compassion. Drawing her picture for the Noli, playwright. Lapefi.a-Bonifacio re- surrected Sisa as vindictive and eloquent, and Salvi as troubled and repentant. The ballet opens with Padre Salvi looking for Sisa' s grave to seek atonement for his sins. In the manner of the noh, Sisa enters from the shadows, leading her two sons, Basilio and Crispin. They dance their thoughts and grie- vances, their bodies and arms often upturned to the heavens as if asking, "why?" They are linked to each other throughout, symbolic of the close bond between mother and sons. In the ensuing confrontation with Salvi, Sisa poignantly reviews, through merciless tirades, the events of her tragic life. She condemns Salvi to eter- nal unrest and warns the audience not to suffer in silence like her but to find their voices, declare their rights and finally recreate a free Philippines. True to the traditional noh, a chorus of women with sphinxlike faces weave in and out of the scenes. They are all-knowing, all-seeing, yet unmoved by the occurrences. The music combines the hispanic air and the emotion-filled, rhythmically diverse utai (the chanted text). The choreography follows the rhythmic patterns and moods evoked by the utai and added chants composed by Antonio Mabesa. • C. G. Inigo SIETE DOLORES. Modem ballet has been used as a vehicle for com- menting on the social problems that plague the nation's development, as In Denlsa Reyes' Siete Dolores, staged by Ballet Philippines In 1988. (Rudy Vldad, Ballet Philippines Co//ec#on) Download 1.09 Mb. Share with your friends:
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