Yay! My article on the participation of Philippines in this year's Prague Quadrennial was published by Philippine Daily Inquirer for its June 20, 2011 issue.
Rollie De Leon and the bahay kubo
Philippine pavilion for Prague Quadrennial 2011.
The Philippines has joined the Prague Quadrennial of Performance Design and Space 2011, an international theater festival considered the largest scenography event in the world.
The quadrennial exhibits a variety of performance design disciplines such as costume, stage, lighting and sound design, including theater architecture for dance, opera, drama, site specific, multi-media performances and performance art.
It's been held every four years since 1967. This year, it started last week and will end on the 26th, with more than 60 countries participating.
At the last quadrennial held in 2007, Rolando "Rollie" De Leon had been a guest artist doing foam art demonstration for the Costume Design Working Group of Organisation Internationale des Scenographes, Techniciens et Architectes de Theatre.
He was disappointed that there was no major exhibit from the Philippines. "I was motivated to ensure our country would be at the next quadrennial and I initiated talks with the PQ officers immediately," he says.
Entries
A costume entry by the Philipipnes
to the Prague Quadrennial 2011.
De Leon has long been a practitioner and advocate of design disciplines for theater. He trained with National Artist for Theater Rolando Tinio and is a freelance set and costume designer for stage, cinema, television and cultural festivals.
He was personally invited by National Artist for Theater Design Salvador Bernal to be a founding member of Philippine Association of Theater Designers and Technicians. He also founded On the Spot Artists' Association, an arts-outreach group.
As the PQ national curator for the Philippines, De Leon has been working with the National Commission for Culture and the Arts and UNESCO International Theater Institute-Philippines to create a working committee and contingent of delegates for PQ11.
"We invited many organizations and friends to join," he says. "We then shortlisted the applicants who could feasibly comply with the many requirements such as submitting sketches, maquettes (scale models of set designs), photographs and even video copies of performances."
Set and costume designs from productions staged from mid-2007 until April of this year were eligible, resulting in more than ten entries from across the country. "Not everyone is aware yet of how big this event is globally," he says. "We hope to have more entries in the next quadrennial."
Pavilion
De Leon's design and construction plans for the bahay kubo.
De Leon has designed a six-meter high bahay kubo to serve as the Philippine Pavilion for the main exhibit area in Veletrzni Palace, the building of the Czech National Gallery.
"Photos, videos, maquettes, and costumes will be installed 'suksok' style inside the bahay kubo. It's inspired by the Pinoy penchant for inserting things in crevices, jambs, joists, and holes in walls."
"After the exhibition, our bahay kubo will move to the Philippine Embassy in Prague to house Jose Rizal memorabilia in celebration of his sesquicentennial."
De Leon promises that he and the contingent will learn as much as they can from artists from all over the world at the quadrennial and bring back information to the country through a design congress he has in the pipeline. "We plan to hold it before the year ends and it will be for artists, practitioners and students."
The quadrennial also has workshops, lectures, discussions and presentations, and, of course, performances. Filipino students and performers will also be joining the contingent as dance and choral performers. Performers from Passi City, Iloilo have been tapped to present "Los Pintados," a dance theater piece inspired by Sinagnayan, the tenth epic of Panay Island. They will also interpret the Ceubano dance ritual Sinulog in a streetdance showdown.
The bahay kubo will come with Filipino hospitality by way of audience interaction. "We'll have a 'Filipino Costume in Flux' where every day, ten selected delegates or guests will be dressed up in Philippine costumes and will be taught to perform portions of different Philippine literary or musical pieces. These impromptu performances will be videoed and shown in the Philippine Pavilion."
PQ awards medals for excellence in different categories though the highest honor, the Golden Triga, is for the Best Presentation for exhibits. "The countdown is on," De Leon says. "I am positive the Philippines will bring home the bacon!"
PETA-Kalinangan Ensemble (the performing arm of PETA)
is holding auditions
for “William,”
a new musical play written by Ron Capinding,
to be directed by Maribel Legarda.
June 17, Friday, 3 pm. (for PETA members only);
June 18, Saturday, 3pm (for non-PETA members).
at PETA Theater Center, 5 Eymard Drive, New Manila, Quezon City
(behind Quezon City Sports Club)
Prepare a song with a rap portion, and memorize a monologue from any of the following Shakespeare plays: “Merchant of Venice,” “Hamlet,” “Romeo and Juliet” and “Macbeth.”
Bring a copy of your resume with picture.
PETA is looking for actors who can sing and dance to play the following roles:
Mga Estudyante sa Ikatlong Taon, mga 15-16 anyos:
1. Erwin Castro--matamlay at mahiyain, di-katangi-tangi
2. Estela Carandang--honor student pero medyo manang
3. Richard Austria--bibong mataray, student leader
4. TJ Domingo--makisig, atleta, mahina sa akademiko, siga
5. Sophia Reyes--maganda, bibung-bibo ngunit di-matalino
Mga Nakatatanda:
6. Ms. Lutgarda Martinez--nakasisindak na English teacher, mahigit 40 anyos
7. Ama, mahigit 40 anyos--to do multiple roles
Paiba-iba ang edad:
Koro (mga 3)--na magsisilbing mga Kaklase, Mang-aawit, Tagapagsalaysay, Komentarista ng mga Nagaganap sa Dula, at/o iba pa.
Look for Aaron or Grace on the audition dates.
Contact 725-6244, 0917-539-1112 or petatheater@gmail.
What do you think of this audition? Share your comments.
A collaborative performance by Leeroy New and Sipat Lawin Ensemble
Backward Rizal Cosplay Parade From Luneta to Fort Santiago
June 19, 2011, 5pm, Sunday
Come in a Rizal costume and join the Rizal Birthday Bash for FREE!
Assembly in Luneta at 3pm.
Come filibusteros!
"Rizal +150" is a series of inter-active performances in public spaces investigating, re-imagining and re-envisioning Rizal and his works for the present generation and for the next 150 years. The series features collaborative works of sculptor Leeroy New and edge-work site specific theater company, Sipat Lawin Ensemble.
The public interventions aim to create inter-action between the artists, the pieces and the public allowing a broader range of Filipino audiences to participate in defining the legacy of a hero in contemporary times in contemporary language.
Rizal +150 seeks discourse on pop-nationalism and mass-producing Rizal, Rizal as an image in post-techno boom Philippines, Noli and Fili resonance in contemporary society, among others.
Rizal +150 is part of Sipat Lawin Ensemble’s "Rizal Sightings," a year-round campaign in collaboration with installation artist Leeroy New along with different institutions and network affiliations around the country.
I wrote a piece about the participation of the Philippines in this year's Prague Quadrennial, which opens in a few days June 16, for a publication but it hasn't been used yet. Hopefully they'll use it next week (by then the festival will be nearly half-done--it lasts until June 26). Please stay tuned for it!
In the meantime, here's a bit of news about the festival:
Randy Gener, Nathan Award-winning editor, writer and drama critic, has been appointed Editor-in-Chief of the June 2011 edition of the Prague Quadrennial Daily in the Czech Republic.
A broadsheet, the Prague Quadrennial Daily will cover PQ events and will be published in English and Czech. The daily paper will be distributed throughout the city center of Prague for the 11-day duration of the Prague Quadrennial of Performance Design and Space.
One of the world's largest theater events held every four years since 1967, the Prague Quadrennial will take place from June 16 to 26, 2011.
"The PQ is the planet's largest competitive exposition of contemporary stage design and theater architecture," says Gener. "PQ is to the Czech Republic what the Venice Biennale is to Italy - a global tapas where everyone who cares about the stage flocks to look, sample and judge the state of new theater from around the world."
Randy Gener is a Philippine-born, New York City-based writer, editor, curator and drama critic. His writing has appeared in The New York Times, Expressen, Norwegian Shakespeare and Theatre Magazine, Mumbia Theatre Guide, The International Herald Tribune, The Star Ledger, The Village Voice, The Daily News, Time Out New York, New York magazine, Gannett Newspapers, Korean Theatre Journal and other publications in Europe, Asia and the United States.
A major contributor to the encyclopedia Cambridge Guide to the American Theater, as well as scholarly books and play anthologies, Gener is Section Editor of Critical Stages, the web journal of the International Association of Theatre Critics, a UNESCO-affiliated organization founded in Paris in 1956.
Gener was conferred a 2010 Pamana ng Pilipino Presidential Award by His Excellency Benigno S. Aquino III, President of the Philippines (the title translates as "Legacy of the Filipino Nation").
What do you think of this appointment? Share your comments.
Japan Foundation-Manila Office
presents
Mime Solo Act: time of mime
on June 14 Tuesday 7:00 pm and June 15 Wednesday 7:00 pm
at Carlos Romulo Auditorium, RCBC Plaza Bldg., Makati City. Free admission
featuring acclaimed Japanese mime artist
Iimuro Naoki
trained under French legend Marcel Marceau, the founder of modern pantomime
A workshop for university students will also be held on
June 15, 2011 from 2:00 – 4:00pm at
Carlos Romulo Auditorium, RCBC Plaza.
Limited slots only.
Contact 811-6155 to 58 or email@jfmo.org.ph or visit www.jfmo.org.ph
What do you think of this production? Share your comments.
Ballet Manila announces 2011-2012 world tour; one-night-only preview
Ballet Manila will have a one-night-only performance of "East meets West in Manila," a preview of the London and Ireland legs of its 2011-2012 season world tour, on June 18, 7:30pm at Star Theater, Star City Complex, Pasay City.
Ballet Manila's world tour this year includes Singapore, Korea and Indonesia.
Four shows are set for June 30-July 2 at the Shaw Theatre in London. The performances are being presented with the Philippine Embassy in London and the Intercultural Society of London.
In Ireland, 18 BM dancers will perform from July 4-9 at the Cork Opera House, University Concert Hall in Limerick City, the Millennium Forum at Derry City, and the Dublin Convention Center.
From July 15-17, BM will stage a co-production with the Singapore Dance Theater (SDT) in performances at the open-air Fort Canning Park . SDT will then fly to Manila to mount the same show at the Aliw Theater from July 29-30.
This co-production will feature both Filipino and Singaporean dance pieces, as well as Philippine premieres of choreographies by George Balanchine. This exchange is also made possible through Kantor Pos Physical Theater.
From Sept. 4-11, BM will travel to South Korea for shows at the Fifth World Gyeongju Culture Expo 2011 and will return to South Korea from Sept. 30 to Oct. 9 for the Andong International Mask Festival.
The world tour concludes when the company travels to Jakarta, Indonesia for a series of shows with Ballet Indonesia from Jan. 27-29, 2012.
Call 400-0292 or 525-5967; email info@balletmanila.ph; visit www.balletmanila.ph.
What do you think of this world tour and season line-up? Share your comments.
"J.P., ang Gig ni Rizal"
will be staged on June 17, 4pm
at Tanghalang Nicanor Abelardo
directed by Chris Millado
featuring prominent artists and performing groups:
led by the Philippine Philharmonic Orchestra,
Ballet Philippines’ Candice Adea and JM Cordero,
Tanghalang Pilipino,
Philippine High School for the Arts,
and a 150-voice choir conducted by Jai Sabas Aracama.
The performance will also include Rachelle Ann Go, Erik Santos, John Arcilla, Philippine All Stars, soprano Myra Mae Meneses, and Juana Change.
Thirty-five Filipino youth achievers will be honored as "Mga Makabagong Rizal: Pag-Asa ng Bayan" during the program.
Rizal 150: Si Jose, Ang Pinoy Idol
The show ends a four-day series of activities "Rizal 150: Si Jose, Ang Pinoy Idol" that commemorates the 150th birth anniversary of Jose Rizal, Philippines' National Hero, at the Cultural Center of the Philippines from June 14 to 17, 2011.
The 13 episodes of CCP’s TV series Noli Me Tangere by National Artist Eddie Romero will be shown at the CCP Dream Theater from June 14-17, complemented with lecture-discussions for teachers by prominent resource speakers.
Mga Kwentong Rizal, a storytelling session for children/youth will be held at the CCP Multi-Purpose Hall, while Rizal’s books and videos will be mounted at the CCP Library.
An exhibition of paintings on Rizal by J. Pasena will be on view at the Bulwagang Juan Luna (CCP Main Gallery) on June 17-August 21 and a mural exhibit by Pilipinas Street Plan to be shown at the 2nd floor hallway on June 17-July 31.
Malou Jacob’s documentary "Si Jose at Si Andres" will be made available on line for public viewing thru the CCP website beginning May 27 to June 30.
will have a one-weekend-only run on July 14, 15, 16 and 17
at the Carlo Romulo Auditorium, RCBC Tower Building, Makati.
Shows are at 8pm with Saturday and Sunday matinees at 3:30pm.
The sensational Off-Broadway show written by sisters Nora Ephron (When Harry Met Sally, Sleepless in Seattle) and Delia Ephron (The Sisterhood of the Traveling Pants, Hanging Up), vividly recounts a selection of comic and heartwarming stories from different women who remember key moments in their lives through the clothes they wore.
Azanza-Dy, Lauchengco-Yulo, Herrera, Escalante, and Glorioso.
The Asian premiere cast includes
- veteran theater actress, writer, and emerging director Cathy Azanza-Dy
- current Associate Artistic Director of Repertory Philippines, Menchu Lauchengco-Yulo
- TV host, model and performer Teresa Herrera
- thespian and music sensation Bituin Escalante
- acclaimed classical vocalist, theater performer, and executive director for Music Artes Philippines, Jay Valencia-Glorioso
Do you remember……
Twirling in rainbow skirts during childhood birthday parties? Feeling embarrassed buying your very first bra? Buying a pair of killer red hells to get over your ex? Walking down the aisle in Mom’s wedding gown to be with the person you will forever cherish?
Each milestone in a woman’s life is captured with laughter, tears, and the special piece of clothing she wears during those moments. A woman’s clothes and accessories are not only expressions of her unique tastes and amazing personality but are reflections of the memories that define who she is today. Behind each halter top, faded pair of jeans, cocktail dress, painful set of stilettos, and designer handbag, she has a story to tell.
The show is based on the bestselling book by Ilene Beckerman, and has featured notable actresses such as Jane Lynch (Glee), Rosie O’Donnell, Brooke Shields (Blue Lagoon, Grease), Betty White (Golden Girls), Rita Wilson, Nikki Blonsky (Hairspray), Fran Drescher (The Nanny), Jamie Lynn Siegler (The Sopranos and Entourage), America Ferrera (Ugly Betty), Kathy Najimy (Sister Act movie series), Kristin Chenoweth (Wicked), to name just a few.
Since its debut in 2009 at New York’s Westside Theater, "Love, Loss and What I Wore" has never failed to garner praise from critics and delight audience members who saw themselves or someone they knew in each funny and poignant tale.
The show won the 2010 Drama Desk Award for Unique Theatrical Experience as well as the 2010 Broadway.com Audience Award for Favorite New Off-Broadway Play. It has since then been staged in Mexico, Brazil, Germany, Scandinavia, Los Angeles, Toronto, Buenos Aires, Mexico, Australia, and Paris.
The show is directed by Theater Down South’s Artistic Director Michael Williams and Cathy Azanza-Dy. Set design is by recent Gawad Buhay! (Philstage awards for the performing arts) awardee Denis Lagdameo and lighting design is by acclaimed and sought after lighting designer John Batalla.
Tickets are at Php1,500 for orchestra center, Php1,200 for orchestra side, Php1,000 for loge, and Php500 for balcony. Tickets are available at Ticketworld at 8919999 or log on at www.ticketworld.com.ph.
Contact 2150788 or 09175378313 or email cteshows@gmail.com or "CTE Productions" on Facebook.
What do you think of this production? Share your comments.
(From left) Former Philippine Prime Minister Cesar Virata, Birute Mar
and Lithuanian Consul to the Philippines Romualdas Vildžius.
Members of the diplomatic corps were in attendance at a reception hosted by the Consulate of the Republic of Lithuania for the 93rd National Day of Lithuania.
Hon. Romualdas Vildžius, Consul ad honorem of Lithuania personally greeted and welcomed guests before giving his welcome remarks. Guest of honor was the Department of Foreign Affairs' Undersecretary for Policy and former ambassador to Lithuania Erlinda Basilio.
Introduced that evening was a group of journalists and scientists from the Lithuanian Journalist's Union currently in an expedition of the Philippines following locations visited by Lithuanian journalist Matas Salcius in 1933 and hoping to "find traces" of Lithuanian scientist Pranciskus Baltrus Sivickis, who worked in the country in the 1920s and founded a biomarine station in Mindoro.
Held at the Cultural Center of the Philippines' Silangan Hall, the reception also served as an opening ceremony for "Monodrama Manila 2011," a four-day festival of monoperformances organized by the National Commission for Culture and the Arts and CCP. A gala twinbill performance immediately followed the reception.
Monodrama
"Monodrama Manila 2011" aimed to showcase "this unique theater form, one where a single actor takes on several roles." Eight groups took part in the festival with the addition of Lithuania as the international entry.
After the Unesco-International Theater Institute (ITI) established a Monodrama Committee to oversee the promotion, cultivation, and enrichment of the art form, ITI-Philippines has been organizing the annual "Alsa Balutan: Monodrama Festival" since 2009 with events throughout the country.
Vildžius introduced Lithuanian poet and actress Birute Mar, who performed Sophocles' "Antigone" in Lithuanian, "one of the oldest Indoeuropean languages, akin to Ancient Greek."
Mar is known as the "Queen of monodrama" in Europe and she considers monoperformance as "the most personal theatre genre closest to poetry." Mar elicited laughter from the guests when she joked that it felt strange to celebrate her country's national day away from her country.
Produced by Lithuanian National Drama Theatre, Birute performed all the characters in the play against a backdrop of projected photo and video images.
International
"The art of monodrama … is steadily gaining worldwide attention," NCCA executive director Malou Jacob said. She noted that the bi-annual Fujairah International Monodrama Festival is evidence to this as nations all over the world gather at Fujairah, one of the seven emirates that make up the United Arab Emirates, to celebrate the craft.
The Fujairah festival started in 2003 and has inspired the creation of "Monodrama Manila." Guests at the reception and gala included Mohammed Saeed Al-Danhani, Fujairah festival chair, and Mohammed Saif Al-Afkham, ITI executive board member. ITI officers Ali Mahdi (vice president) and Tobias Biancone (secretary general) were also present.
Jacob highlighted the role of the Philippines in the global arena of performing arts and noted that our very own festival is an indication of our country's participation in the creation of a "theatre of nations." And that the inclusion of international guests and participants "highlights strong mutual understanding and increases creative cooperation in the performing arts."
She also pointed out that this year's festival "piques a poignant heart" as the theater world bade farewell to Ellen Stewart, founder and stalwart of La MaMa Experimental Theatre Club, who had provided a haven for Filipino exiles in America who were fighting for the restoration for democracy.
Entries
Entries to "Monodrama Manila 2011" from the National Capital Region were Shamaine Centenera-Buencamino in Layeta Bucoy's "Galeon ni Simeon;" Glecy Atienza in J. Laspuna's "Bien;" Nar Cabico in Al Santos' "Anak ng Babaylan;" and Jonathan Tadioan in Reuel Aguila's "Alimuom."
The Visayan entries were Tanya Lopez's "Emo Trip" featuring Adelyn Maloloy-on and Jeremy Everdone's "Biyuos" featuring Kenneth Deananeas. From Mindanao was "Su Lokes" by Romeo Narvaez featuring Sybil Alvarez.
Fray Paolo Casurao's "Queen Kong" was also an entry from the NCR with Skyzx Labastilla performing during the gala. A forum on monodrama concluded the festival.
"It is NCCA's hope that this fete for the art of monodrama will not only be an annual event but likewise usher in a paradigm shift that will look deeply into and give great importance to culture and the arts beyond the notion that it has little or no economic, political and social value," said Jacob.
Thanks to Ma Theresa Belleza of NCCA and Juliet Ravino of the Consulate of Lithuania.
What do you think of this monodrama festival? Share your comments.
Below are the reactions of Basilio Esteban "Steve" Villaruz and Myra Beltran to Senate Bill No. 2679 Philippine National Ballet Act 2011.
A National Ballet Company—Or NO!
By Basilio Esteban S. Villaruz
May 17, 2011
With the arduous and challenging work of dancers, it is understandable that there are benevolent forces which wish to assure them of stability and security. Like most performing arts, dance demands unremitting devotion--in ballet with six to eight hours of training and rehearsals per day, often followed by performances late into the night.
Not known to most of us, this also occurs in active contemporary (modern) dance here and worldwide. So it is not only ballet folks who work hard. I used to meet free-lance dancers in New York who still rehearsed after their part-time jobs—into past-midnight. And to cite an academic dance program with its own dance group, the students do training (technique) classes each morning, and then convene again as a company for another training class, straight to rehearsals in the evening. And when required still perform late into the night.
The Alice Reyes and Modern Dance Company was founded as a contemporary dance group. At first, it was really a pick-up company rehearsing at UE Fine Arts building in the dance studio of Joji Felix Velarde and Eddie Elejar in Santa Mesa. Alone by herself but to put up her show, she had two dancers from Bayanihan, three from UE Dance Company and 10 from Dance Theater Philippines, led by Elejar himself who was a founder—with Julie Borromeo and Tita Radaic—of DTP in 1968. These dancers became the core of the CCP Dance Workshop and Company, later CCP Dance Company.
DTP was the first ballet company to perform at the CCP in 1969 with Mir-i-nisa (music by Eliseo Pajaro, story by Jose Garcia Villa, choreography by Borromeo and Radaic). Also born in 1968 as another professional company was Hariraya Ballet. In 1970, it also performed Ibong Adarna (music by Rodolfo Cornejo) at the CCP, in a shared program with Reyes’ group. Thereafter the National Music Festival’s annual ballets were only fielded out to CCPDC, later Ballet Philippines.
In 1987, with the now open doors of CCP after the Edsa Revolution, these activeballet companies (DTP and Hariraya) consolidated themselves into Philippine Ballet Theater—with as active Dance Concert Company (Vella Damian and Eric V. Cruz), as active Manila Metropolis Ballet (Elejar and Tony Fabella—who had long left CCPDC) and dancers from other ballet studios active long before CCP was built. Later PBT dancers formed Ballet Manila—today’s most active/number of performances as a ballet company in the Philippines—also often in foreign festivals. They also have the most number of winners in national and international ballet competitions, starting with Lisa Macuja Elizalde.
Lisa herself came from DTP and from there went to study in St. Petersburg and was briefly a member of the Kirov (now St. Petersburg) Ballet. Her homecoming performance was supported by several of the companies mentioned above—I “impresario’d” that production at the Metropolitan Theater. After that, she became resident artist of the CCP (not of BP) but as such danced for Ballet Philippines. Thereafter, she became ballerina of PBT and later founded BM with Eric V. Cruz.
Rather than clarifying, this enumeration of names may even make more confusing the formal establishment of our dance companies! Ballet Philippines itself used to be called the CCP Dance Company, and earlier the CCP Dance Workshop and Company. If the Alice Reyes and Dance Company was a pick-up company, does this warrant BP’s founding in 1970? Much of that time, whether as AR and MDC or CCP Dance Workshop and Company, the dancers were paid per performance, plus rehearsal fees.
May it also be said that PBT’s birth was also augured by DTP, Hariraya, and DCC—which saw their births before CCP was around? Or even way back when Hariraya was de Oteyza’s Ballet or Manila Ballet Company? Elejar himself danced with Anita Kane’s professional Pamana Ballet—before DTP and Hariraya. Nicolas Pacana and Noordin Jumalon were from Fe Sala Villarica’s Queen City Junior Ballet in Cebu, touring the country like Kane’s group did.
So HISTORY is really fluid, only made hard-facts in pronouncements, brochures and books. In this case, “What’s in a name?” When the same bodies danced before and after groups got their so-called names? We often make of history “a hard coconut” –then that of agile folks who “climb the trees”!
This naming of “hard nuts” arises due to this Senate Bill 2679 proposing that Ballet Philippines be named the ballet company.
Wait a minute! In turn yet another story needs to be told. In the late ‘90s, there was also House Bill 9205 that proposed the Bayanihan Philippine Dance Company also as national. So this was way ahead. When approved, Bayanihan gained an endowment fund. The enacted bill itself promised it would name other folk dance companies as national. Which so far has not happened, after eleven years.
When that was proposed, the national dance committee of the NCCA was alerted—a little too late. Chairman of the committee then was Corazon Generoso Inigo. With her, the committee formulated its position paper—which I later quoted in my March 1, 1998 column in Manila Standard.
(That was actually part of a series in my column: “Are National Artistic Companies Necessary? Parts 1 and 2; and “The Bayanihan Bill” after it was passed anyway. Authors were Miguel Romero and Jose Carlos Lacson.)
To make this long story short, the following was the dance committee’s position:
The setting up of a national dance company (ballet or folklore) creates a hegemony that monopolizes influence and at the end homogenizes the aesthetics and practice of dance;
A national dance company privileges one over, above and against all others—which may just as well contribute to our national culture in their respective and respectable ways;
A national dance company is counter-productive, namely because it will: a) provide the most bounty to one and deprive the rest equal regard, opportunity and support; b) put all other artists not so privileged as second-class and therefore lose out at the start by a predetermined handicap; and c) at some point in time, such “unrivalled” company may atrophy which happens even to the best and best-endowed companies;
A national dance company is born out of an alien or colonial viewpoint, promoted by foreigners (such as was espoused by a helpful but non-Filipino diplomat, seconded by another foreigner who married a Filipino ambassador), or by our own authorities who wish to colonize our people and artists by their autocratic will and ways; and
A national dance company goes against the historic cry of artists to be helped out after the EDSA Revolution, where in fact one compromise-company was established in dance, so that to move again against that call for reform and again perpetuate the privileged will be received once more with the hew and cry of the rest, in order to protest the arbitrary game of naming, promoting and patronizing only “the best” at the expense of “the rest”—a most injudicious and injurious hegemonic move against the creative nature and future of Philippine theater.
Felicitas L. Radaic, CCP Philippine Centennial (1999) and CCP Gawad (2008) awardee, has already made out her own position, quoting from the Constitution’s provisions on social and artistic equity, equal access and opportunities in Philippine cultural life.
She also quotes me from a conference paper I read soon in Kuala Lumpur: “Nationalization of groups is a throwback from colonial times, imitating the proclamation of royal institutions in monarchical governments. Such were royal trading monopolies like in the old colonies.” I wrote this from our history where we really had no kingdoms; if few they were small, isolated and never consolidated themselves as a “nation”. Around us in Southeast Asia there were real kingdoms, making possible their royal theater or “ballet”.
It is really a meaningless and wasteful use of energy to keep resuscitating this kind of “dead horse” in now free and independent states! But with dead horses you can still money—at the expense of others—even in one’s own country!
Basilio Esteban S. Villaruz
Professor Emeritus, University of the Philippines
President, World Dance Alliance-Philippines
VP for Southeast Asia, World Dance Alliance-Asia Pacific
Awardee: City of Manila, NCCA (Dangal Haraya), National Research Council of the Philippines, UP Artist Productivity (2010-12), National Book Award (cultural studies), External Examiner-University of Malaya, Congress of Research in Dance (CORD-USA), Videodanse-France (2x), Association of Ballet Academies-Philippines, British Council, Goethe Institut, Asian Cultural Council, USSR Ministry of Culture, etc.
I thought (answer and in protest to Senate Bill No. 2679)
by Myra Beltran
Uploaded June 4, 2011
Transcript of voice over:
I thought … that we had reached a point where what mattered was one’s pure heart for dance
I thought … that there was not anymore one standard for beauty in dance and that beauty was measured only by our real commitment to the dance
I thought … that each of us could be allowed to speak in our own unique voice in dance and it was this uniqueness we celebrated
I thought … that if I worked hard enough, opened my heart enough, I could lead others to do the same
I thought … that my generation had put away the ghost of the past through our hard work and commitment and that it is this which the dancer of today enjoys
I thought … that the sacrifice of my generation would inspire this generation to honor the same with as much of a sacrifice
I thought … that dance was its own reward and that all that mattered was the sincere passing on of dance
I thought … that we all thought that if we truly served the dance, the dance would, in some way, take care of each of us for that service
I thought … that we were allowed to speak of the mundane because the mundane was just as important
I thought … that everyone understood we were all equally a part of the struggle for dance
I thought … that legacy in dance was found in the heart, to be shared through a more magnanimous heart to the next
I thought … that we all knew that the dance must be left to dancers because it is they who will preserve it out of love
I thought … that greatness was achieved through the taking of many small steps, patiently, thoroughly, with kindness, courage, without arrogance and rancor
I thought … that the only honor that mattered was the one not actively sought but the one which was collectively and freely bestowed
Tell me, was I then horribly, horribly wrong?
What do you think of the bill and the reactions? Share your comments.
