June 12, 8pm
Independence Day soiree at the EmbassyChoreographic pieces show the adaptability of the pangalay-style movement vocabulary. The authentic character of traditional postures and gestures shine through: refined, seamless, and flowing.
Sa Ugoy ng Duyan. Two National Artists conspired to create this lullaby. Prof. Lucio San Pedro for the music; Prof. Levi Celerio for the lyrics. The dance portrays a caring mother remembered with much fondness by a loving son. Song interpretation by Regine Velasquez.
Sa Kabukiran. The song by Manuel Velez expresses the sheer joy of spending time in the pollution-free countryside of yesteryears. Dancers playfully but demurely cavort with a fan to the music transcribed by violinist Gilopez Kabayao, accompanied by pianist Corazon Pineda.
Linggisan. Classical-style pangalay simulating birds at play, searching for food, or simply enjoying the gift of life and freedom. Janggay (metals claws) amplify the gestures.
Igal Ha Agung. Performed by a female dancer with a male partner beating an agung as he follows her about. She dances on top of the agung momentarily laid on the floor, while he plays a tungtung (small gong) and interacts with her in every way. She pretends not to notice his advances.
June 13, 1030am
ASEAN Ladies Circle dance/lecture at the Ambassador’s residence (20 minutes)What is Pangalay?
An annotated introduction of the basic pangalay-style movement vocabulary in English and French.* A medley of traditional pangalay variations danced to kulintangan music follows.
Bula’bula’. Dancers use bamboo or shell clappers for sound accompaniment.
Tariray. A lively Badjaw version accentuated by the crisp sound of clappers to the staccato rhythm of percussive music.
Igal Kabkab. Pangalay choreographed with a fan.
Pangasik and Tawti. Characterized by rapid mincing steps, pangasik imitates a mating rooster. The labors of catching tawti (catfish) translated into dance are unusually exciting. Performers are always male.
Linggisan. Vividly represents a bird in flight.*French translation by Ms. Trini E. Derbesse
June 14, 730pm
Performance at Musee du Quai Branly for book launch of Museum Treasures of Southeast AsiaBula’bula’. Dancers use bamboo or shell clappers for sound accompaniment.
Tariray. A lively Badjaw version accentuated by the crisp sound of clappers to the staccato rhythm of percussive music.
Igal Kabkab. Pangalay choreographed with a fan.
Langka-Budjang. A martial dance for women, incorporating pangalay elements. Although the dancer leaps and kicks, her feminine allure is maintained in the graceful arm thrusts characterized by restrained force.
Pangasik and Tawti. Characterized by rapid mincing steps, pangasik imitates a mating rooster. The labors of catching tawti (catfish) translated into dance are unusually exciting. Performers are always male.
Linggisan. Vividly represents a bird in flight.
Igal Ha Agung. Performed by a female dancer with a male partner beating an agung as he follows her about. She dances on top of the agung, which is momentarily laid on the floor, while he plays a tungtung (small gong) and interacts with her in every way. She pretends not to notice his advances.
June 16, 8pm
Film showing, “Memories of the Sea†written and directed by Nannette Matilac, about the plight if the Badjaw refugees in Metro Manila; followed by discussions, dancing and jamming; the activity is sponsored by the Muslim Association
June 17, 3-6pm
Dance workshop at EmbassyWorkshop participants will be taught the rudiments of the pangalay dance style.
June 23, 8pm
Lecture/Performance at Maison des Cultures du Monde (full show)PART I. What is Pangalay?
An annotated introduction of the basic pangalay-style movement vocabulary in English and French.* A medley of traditional pangalay variations danced to kulintangan music follows.
Bula’bula’. Dancers use bamboo or shell clappers for sound accompaniment.
Tariray. A lively Badjaw version accentuated by the crisp sound of clappers to the staccato rhythm of percussive music.
Igal Kabkab. Pangalay choreographed with a fan.
Langka-Budjang. A martial dance for women, incorporating pangalay elements. Although the dancer leaps and kicks, her feminine allure is maintained in the graceful arm thrusts characterized by restrained force.
Pangasik and Tawti. Characterized by rapid mincing steps, pangasik imitates a mating rooster. The labors of catching tawti (catfish) translated into dance are unusually exciting. Performers are always male.
Linggisan. Vividly represents a bird in flight.
Igal Ha Agung. Performed by a female dancer with a male partner beating an agung as he follows her about. She dances on top of the agung, which is momentarily laid on the floor, while he plays a tungtung (small gong) and interacts with her in every way. She pretends not to notice his advances.*French translation by Ms. Trini E. Derbesse
PART II. Yoyoy Villame Suite: A Tribute
A dance suite that features an odd couple watching the world go by as a lovesick nursemaid watches over them. Music accompaniment is a medley of the late Yoyoy Villame’s hit songs. This suite was originally performed with the odd couple seated on a bench designed by National Artist Napoleon Abueva.
Granada The dance of the cigarette vendor and the balut (duck egg) seller
Butse Kik The dance of the flower vendors
Da, Da, Da The dance of the humor-mongers and the street sweepers
(Tsismis)Mag-Exercise The dance of the odd couple
Tayo
Nasaan Ka, The dance of the lovesick nursemaid
Darling?PART III. Stillness in Motion
A dance suite choreographed by Ms. Ligaya Fernando-Amilbangsa set to the music composed by Ms. Pearlsha Abubakar. This was an official Philippine entry to the First Onassis Competition for Original Music Composition for Dance and Original Choreography in Athens, Greece, in Year 2000. First presented at the historic Far Eastern University Auditorium on April 27, 2000 at an Invitational Premier dedicated to Leonor Orosa-Goquinco, National Artist for Dance.
Scenario
The choreography emphasizes style and expression, minimalism, and tranquility. Hallmarks of the deceptively simplistic choreography are rhythms established by the repetition of postures and gestures, complementing the recurrent melodic pattern of the music.
The refined, meditative, and flowing movement vocabulary is based on the classical-style Pangalay (which means “temple of dance†in Sanskrit, a unique, little-known indigenous dance form of the Muslim cultural communities in the Sulu Archipelago, the Southern Philippines.
Pangalay-style characteristics retained in the contemporized choreography, highlighted by masks and hand puppets, impart a distinctive element. The blending of these elements illustrates that despite theatrical demands alien to its origin, fidelity to a tradition can be maintained in the pursuit of innovation, as well as the expression of universal values and themes.
Scene 1. Being (The Order of Things)
A long piece of cloth, the “tie that binds,†symbolize being or existence, timelessness, continuity, chain reaction.The woodwind instrument (raya shakur) bellows the defining series of notes that will be heard over and over in the whole piece. It represents the world being formed.
Scene 2. Fusion (The Breath of Life)
Recurrent movement patterns and melodic motifs symbolize breathing, the rise and fall of the tides, birth and rebirth, oneness and dispersion.From the singular and plaintive woodwind passage, the score gives way to a certain chaos, which embodies all manner of fusion. The frenzied string and cello arrangements, with piano accents, emphasize this fact. Then, the music gives way to a dark, repetitive rhythm on the piano, as if saying “yes†to the will of the Force.
Scene 3. Diversity. (The Spice of Life)
Stillness, minimalism, and tranquility prevail while alluding to variety and change. Masks further imply beings drifting in, out, near, or far beyond the horizon.Scene 4. Assemblage (The Throng)
Purity of line and feeling merge in postures and gestures devoid of unnecessary details. Hand puppets provide visual and dramatic impact. Movements appear to be simple and easy, but actually require concentration and strength without appearing to be strong. Stillness is maintained.The layers upon layers of instrumentation and mood achieved in Scene 3 cut abruptly to a singular piano movement, suggesting the intermittent character of nature (the notion of eternal return). Then, it gives way to a reprise of the main melody, with all the instruments, except for the piano, layered in (chant, xylophone, cello, strings, raya shakur). The finale suggests a lightness of being achieved by being one with the Universe.
FINALE. Playback La Vie en Rose (jazz version)
Music: Frank Pourcel & Michael Bublé
June 27, 8pm
Performance at UNESCO
The AlunAlun Dance Circle performs with the Madrigal Singers. The finale presents the artistic collaboration of the two performing groups.PART I. What is Pangalay?
An annotated introduction of the basic pangalay-style movement vocabulary in English and French.* A medley of traditional pangalay variations danced to kulintangan music follows.
Bula’bula’. Dancers use bamboo or shell clappers for sound accompaniment.
Tariray. A lively Badjaw version accentuated by the crisp sound of clappers to the staccato rhythm of percussive music.
Igal Kabkab. Pangalay choreographed with a fan.
Langka-Budjang. A martial dance for women, incorporating pangalay elements. Although the dancer leaps and kicks, her feminine allure is maintained in the graceful arm thrusts characterized by restrained force.
Pangasik and Tawti. Characterized by rapid mincing steps, pangasik imitates a mating rooster. The labors of catching tawti (catfish) translated into dance are unusually exciting. Performers are always male.
Linggisan. Vividly represents a bird in flight.
Igal Ha Agung. Performed by a female dancer with a male partner beating an agung as he follows her about. She dances on top of the agung, which is momentarily laid on the floor, while he plays a tungtung (small gong) and interacts with her in every way. She pretends not to notice his advances.*French translation by Ms. Trini E. Derbesse
PART II. Stillness in Motion
A dance suite choreographed by Ms. Ligaya Fernando-Amilbangsa set to the music composed by Ms. Pearlsha Abubakar. This was an official Philippine entry to the First Onassis Competition for Original Music Composition for Dance and Original Choreography in Athens, Greece, in Year 2000. First presented at the historic Far Eastern University Auditorium on April 27, 2000 at an Invitational Premier dedicated to Leonor Orosa-Goquinco, National Artist for Dance.
Scenario
The choreography emphasizes style and expression, minimalism, and tranquility. Hallmarks of the deceptively simplistic choreography are rhythms established by the repetition of postures and gestures, complementing the recurrent melodic pattern of the music.
The refined, meditative, and flowing movement vocabulary is based on the classical-style Pangalay (which means “temple of dance†in Sanskrit, a unique, little-known indigenous dance form of the Muslim cultural communities in the Sulu Archipelago, the Southern Philippines.
Pangalay-style characteristics retained in the contemporized choreography, highlighted by masks and hand puppets, impart a distinctive element. The blending of these elements illustrates that despite theatrical demands alien to its origin, fidelity to a tradition can be maintained in the pursuit of innovation, as well as the expression of universal values and themes.
Scene 1. Being (The Order of Things)
A long piece of cloth, the “tie that binds,†symbolize being or existence, timelessness, continuity, chain reaction.The woodwind instrument (raya shakur) bellows the defining series of notes that will be heard over and over in the whole piece. It represents the world being formed.
Scene 2. Fusion (The Breath of Life)
Recurrent movement patterns and melodic motifs symbolize breathing, the rise and fall of the tides, birth and rebirth, oneness and dispersion.From the singular and plaintive woodwind passage, the score gives way to a certain chaos, which embodies all manner of fusion. The frenzied string and cello arrangements, with piano accents, emphasize this fact. Then, the music gives way to a dark, repetitive rhythm on the piano, as if saying “yes†to the will of the Force.
Scene 3. Diversity. (The Spice of Life)
Stillness, minimalism, and tranquility prevail while alluding to variety and change. Masks further imply beings drifting in, out, near, or far beyond the horizon.Scene 4. Assemblage (The Throng)
Purity of line and feeling merge in postures and gestures devoid of unnecessary details. Hand puppets provide visual and dramatic impact. Movements appear to be simple and easy, but actually require concentration and strength without appearing to be strong. Stillness is maintained.The layers upon layers of instrumentation and mood achieved in Scene 3 cut abruptly to a singular piano movement, suggesting the intermittent character of nature (the notion of eternal return). Then, it gives way to a reprise of the main melody, with all the instruments, except for the piano, layered in (chant, xylophone, cello, strings, raya shakur). The finale suggests a lightness of being achieved by being one with the Universe.
FINALE. La Vie en Rose
Music: Frank Pourcel & Micheal Bublé______________
SECOND ACT. Back-to-back with the Philippine Madrigal Singers.
July 1, 11am
Performance at Pista sa ParisPART I. What is Pangalay?
An annotated introduction of the basic pangalay-style movement vocabulary in English and French.* A medley of traditional pangalay variations danced to kulintangan music follows.
Bula’bula’. Dancers use bamboo or shell clappers for sound accompaniment.
Tariray. A lively Badjaw version accentuated by the crisp sound of clappers to the staccato rhythm of percussive music.
Igal Kabkab. Pangalay choreographed with a fan.
Langka-Budjang. A martial dance for women, incorporating pangalay elements. Although the dancer leaps and kicks, her feminine allure is maintained in the graceful arm thrusts characterized by restrained force.
Pangasik and Tawti. Characterized by rapid mincing steps, pangasik imitates a mating rooster. The labors of catching tawti (catfish) translated into dance are unusually exciting. Performers are always male.
Linggisan. Vividly represents a bird in flight.
Igal Ha Agung. Performed by a female dancer with a male partner beating an agung as he follows her about. She dances on top of the agung,which is momentarily laid on the floor, while he plays a tungtung (small gong) and interacts with her in every way. She pretends not to notice his advances.*French translation by Ms. Trini E. Derbesse
PART II. Yoyoy Villame Suite: A Tribute
A dance suite that features an odd couple watching the world go by as a lovesick nursemaid watches over them. Music accompaniment is a medley of the late Yoyoy Villame’s hit songs. This suite was originally performed with the odd couple seated on a bench designed by National Artist Napoleon Abueva.
Granada The dance of the cigarette vendor and the balut (duck egg) seller
Butse Kik The dance of the flower vendors
Da, Da, Da The dance of the humor-mongers and the street sweepers
(Tsismis)Mag-Exercise The dance of the odd couple
TayoNasaan Ka, The dance of the lovesick nursemaid
Darling?