On dance

Owing to recurring influenza (which seems prevalent these days), I missed seeing Inside Out, subtitled Art from the Heart. As announced, "No other production rendered by a solo performer has brought text, dance, music, video and sculpture so close together."

The solo performer was Marge Enriquez whom I have long admired, her lithe, lissome figure going through movements that are a cross between modern dance and ballet as she mouths gems of wisdom on life and living from the philosopher-communicator Dadi Janki. This has made Marge a remarkable unique didactic dancer.

Inside Out was done to the choreography of Douglas Nierras who is known for his dynamic compositions, the direction of theater stalwart Bart Guingona, the music of Agnes Manalo, the lighting design of Jay Aranda and the costumes of Lulu Tan Gan. I would also have like seeing how Impy Pilapil’s sculpture was integrated into the multi-media production.

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An invitation from Dr. Rustica Carpio of the FEU President’s Committee on Culture was to a dance concert staged at the university auditorium by the Gintong Lahi Dance Co. of St. Francis of Assisi College System in Las Piñas.

With the artistic direction and choreography of Dr. Antonio Bermudez, the numbers were Tribute to Mother Earth, Tribute to Maria Clara, the Muslim Suite Sultana and Doon Po Sa Amin. These have been shown at the CCP Folk Arts Theater, the WOW Philippines in Intramuros, Malacañang and other venues to high praise from Filipino and foreign guests.

In November and December, the group will perform in various Italian cities and at the Youth Arise Festival of Germany’s World Youth Day celebration in August of 2005.

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Upon the invitation of the FEU, leading dance/ballet companies graciously paid tribute to the Filipino pioneer choreographer Leonor Orosa Goquingco, founder-choreographer of the Filipinescas Dance Co. which was recently revived in partnership with DLSU’s College of St. Benilde.

As announced by media, "the dance concert is FEU’s way of honoring Orosa Goquingco, whose major dance works have been a regular fare at the university auditorium since the 1950s."

Offering a widely varied program last Thursday were Philippine Ballet Theater, Ballet Philippines, Ballet Manila, the Association of Ballet Academies (Center for Movement and Music); the Chameleon Dance Co., C.A.P. Ballet Theater, International Christian Academy Ballet, the Kontra-Gapi, Ecole de Ballet Manille; Vella Damian School of Ballet, the UE Dance Troupe and the Filipinescas Dance Co. which ended the presentation.

During an earlier tribute at the UP, testimonies were given by notable dance personalities only four of whom will be quoted.

From dancers-choreographers Eddie Elejar and Tony Fabella: "We truly admire Leonor Orosa Goquingco. She pioneered in stylizing Philippine folk dances and turning them into theater art. All dancers are heirs to her influence whether they are aware of it or not. She is an inspiration to choreographers who call themselves Filipino. In Philippine art and culture, there is no one like her."

From Denisa Reyes, artistic director, Ballet Philippines: "In behalf of Ballet Philippines, I would like to give honor to our National Artist in Dance Leonor Orosa-Goquingco for her contribution to the evolution of dance in our country. Her efforts to integrate our cultural heritage into the realm of artistic movement has enthused artists to explore the richness of our vast traditions and incorporate them into dance. Congratulations and more power!"

From Pedro R. Abraham Jr., Filipinescas dancer-musician, 1965-71: "An authentic Filipino genius, Leonor Orosa Goquingco’s presence transcends dance, music, theater and writing as these are mere windows by which she reveals to us and to the world the soul and spirit of the Filipino – humanity, complexity, simplicity, beauty and ultimately, truth.

"I declare: she is my art-mother and I am her grateful son-in-spirit. My own Kontemporaryong Gamelan Pilipino (Kontra-Gapi) is a child of her Filipinescas Dance Company: Philippine Life, Legend and Lore in Dance. No one has had a greater impact on my life and work as a performing artist."

Way back in 1961, after Nick Joaquin saw a rehearsal of Filipinescas, he wrote in the Philippine Free Press what sums up the foregoing testimonies: "Tomorrow’s Philippine dancers will be specially indebted to Leonor Orosa who showed how Philippine dance can express the drama of our lives, and who created the mold in which it is now presented. Filipinescas is the peak. In this resumé of Philippine culture from pagan to modern times, the native dance has been brought to its highest stage of development. No further progress in this direction seems possible."

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At the press conference marking CCP’s 35th anniversary, Inday G. Mañosa, on seeing me, quickly invited me to see La Bayadere. In my subsequent review, I wrote, "Presumably, it was the first production of La Bayadere in its entirety." Mine was obviously a presumption, not a categorical statement. Forthwith, I received three identical faxed sheets, each stating that Ballet Philippines had staged the entire ballet in 1987. I would like to thank my anonymous informant.

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The Madrigal Singers have just won two international first prizes in Valencia, Spain, according to Tess C. Pardo, mother of choir member Paolo.