Defining Filipino-ness in dance

Philippine history has been told and retold in many formats; be it in straightforward lessons, songs, dances, or even catchy renditions with punchlines as narrated in song by Yoyoy Villame.

Whether it is told in broad strokes or in snippets expanded into folk tales and legends, a history lesson oftentimes drives the point home by a logical chronology predictably summed up in the dénouement.

Sayaw Tungo sa Kalayaan, a special invitational performance given by Alice Reyes Dance Philippines at the Metropolitan Theater, is a series of dances that depict not just significant events in Philippine history and traditions but also innate sentiments in the Filipino character, visualized not just through dance moves but digital materials as well, serving as backdrop support to the dances introduced by concisely scripted narratives. Singers/actors Sheila Valderama Martinez, Arman Ferrer, Marynor Madamesila and David Ezra are the narrators who recite or sing the continuing stories, interlacing each segment in seamless continuity.

For its prologue, artistic director Ronelson Yadao choreographed Samu’t Saring Iisa to the composition of Kent Charcos which seeks to outline different views and mindsets that occupy Filipinos, but with a collective anthem: pride in one’s Filipino race despite differences. The dancers are costumed in their own ordinary street clothes in earth hues, moving in joyful unison.

From this opening statement, history unfolds with a tribal dance interpretation based on Manobo tribal culture, entitled Mga Sinaunang Tao, performed by an all-male cast minimally clad in tribal G-strings. Movements are sharp and accentuated, matching the rhythms of pounding feet and gongs. History shifts to the introduction of trade with the coming of the Muslims in Sulu through the silk trade, along with spices and gold. A graceful reinterpretation of a Muslim dance to the musical excerpts from National Artists for Music Dr. Ramon Santos and Lucrecia Kasilag is choreographed by National Artist for Dance Alice Reyes.

In the Spanish colonial period, a sad highlight was the persecution of presumed rebellious Filipinos, which did not exempt the clergy from the same gruesome death by garrote. The most well-known of these were three priests—Mariano Gomez, José Burgos and Jacinto Zamora, collectively known by their portmanteau GomBurZa—are represented in dance by Ejay Arisola, Renzen Arboleda and Dan Dayo. Their writhing agonized moves in the final scene are so touchingly expressed, exhibiting the dramatic bent of choreographer Lester Reguindin in orchestrating moves of emotions in a wordless language. The scene ends with Jose Rizal fictitiously witnessing the execution, leading to a romantic pas de deux of Rizal and Josephine Bracken danced by Erl Sorilla and Monica Gana in “Hanging Sumisinta, choreographed by ARDP artistic director Ronelson Yadao. Both Sorilla and Gana are well-known for their dramatic and multi-layered interpretations of pieces they dance, evident in this lovestruck number.

The historical highlights are followed by six regional dances: Dahil sa Iyo (Alice Reyes), Manang Biday (Dan Dayo), Kada Paningkamot (Al Abraham), Maupay (Ronelson Yadao), Babayi (Lester Reguindin) and Telebong (Alice Reyes). The moods of each dance display typical regional characteristics of people in their respective provinces, ably danced and acted by the company that includes dance trainees from the University of the East.

As history unfolds it becomes obvious that the linking of continuous action is the key to the production’s flawless development, carried over by well-timed spiels and songs of the guest artists matched by digital visuals. The proscenium screen is wisely divided horizontally to allow visuals to change without having to disrupt the fixed textured backdrop for the dancers.

The tastefully curated sequence of dances is sometimes trimmed to fit the timing. All these were meticulously put together by production designer Loy Arcenas in collaboration with video designer Joyce Garcia, artistic director Yadao, and of course the invaluable input of Alice Reyes herself, who jump-started the production of her dream of developing a dance suite that celebrates Filipino history and culture and speaks of love of country. Streamlining was the key, said Arcenas, to putting across the concept without having to say much, keeping tight watch so that all production elements are timely utilized to successfully stitch the narrative together.

But it doesn’t end here. Unlike a narrative which has a beginning, middle and end, after Sayaw Tungo Sa Kalayaan comes Augustus “Bam” Damian’s After Whom, an abstract piece that deals with the ongoing discourse over the rights of women and whose title implies, “Who walks after whom?” Is it the man before the woman or vice versa? A showcase for the dancers’ display of unity of movement in one breath and bursts of defiant energy, the music is composed of two pieces entitled Payaso and Sur Realista, composed by the Portuguese band Von Magnet, and adapted by Filipino composer Jerold Tarog, infusing Tagalog texts, yet keeping to the original rhythm and dance phrases. On one hand, could the dance number chosen to end the suite hint at a loss of identity as well? Or as Arcenas observes, “Just when we thought we were stuck on our identity, we realize we are a nation on the move.”