ADC

Sayaw sa Alon

The Bajau possess the ancient wisdom of the sea. Can they preserve the invaluable heritage in the face of war, western acculturation, globalization and environmental degradation?

The documentary combines the traditional dances and music of the Sulu Archipelago to dramatize the rapid transformation of the Bajau from a seafaring people to a land-based nomadic group.

Shot in Tawitawi, Sitangkai, Zamboanga, Metro Manila and Laguna, the documentary follows the Bajau flight from Sulu Archipelago
to the railroad slums of Laguna.

Writer and Director: Nannette Matilac
Narrator: Cecilia B. Garrucho
Cinematographers: Neil Daza and Egay Navarro
Production Manager: Cynthia Cruz-Paz
Editor: Milo Alto-Paz
Musical Scoring: Isha Abubakar
Artistic Consultant: Ligaya Fernando-Amilbangsa

Produced with the support of the NCCA and UNESCO Philippines

Moonrise Film Festival, Robinsons Galleria Cinema

21 Aug 2008– 6:40 PM (Thurs)

22 Aug 2008– 9:05 PM (Fri)

23 Aug 2008– 11:00 AM (Sat)

24 Aug 2008– 1:40 PM (Sun)

25 Aug 2008– 4:25 PM (Mon)

26 Aug 2008– 6:40 PM (Tues)

Screenings at the Robinsons Place, Ermita will be announced.

For more information contact:

Moonrise Filmfest Secretariat

0915-323-5022, 0928-562-8858

557-9404, 557-9439

Anyone thinking about learning Pangalay only needs to see Ligaya Fernando-Amilbangsa in motion for a few seconds to be completely convinced. She glides about in graceful, undulating waves. Every move is hypnotic. She can dance in silence but you would still hear music in your head. It’s that magical.

Now imagine ten other men and women dancing with the same gracefulness, the same moves, the same fluidity, and you’ve got the Alun Alun Dance Company. It’s like the ocean on a quiet night– still and powerful.

Of course it looks much easier than it actually is. Walking with your knees half-bent, your feet flexed, your hands bent from the wrists as far back as humanly possible while tracing a figure eight in the air, demands not only strength, but more importantly, control. Control is the emphasis of each exercise, and the most difficult to control of course, is one’s knees. Squat… walk… squat… walk… squat while walking. My first few lessons felt more like military camp where the pants are pink and guns look life fans. There are times when I can barely keep my balance because my knees and thighs would shake from exhaustion.

The only way (for a 34-year old beginner) to survive is to do the exercises at least every other day. I did the stretches at work and at home, while reading emails or watching TV. I hope that one day, these exercises will be second nature to me.

Our teachers, dance master Ligaya Amilbangsa and pangalay instructor Nannette Matilac, are wonderful because they correct when necessary, and are generous with praises and encouragement. I frequently hear Ligaya tell this batch of scholars how happy she is with them because they learn quickly. The children– proud of their achievement, smile shyly. Indeed, after just six lessons, I have seen significant changes. Their movements are more defined, and they’re much more confident. As for me, I hit a high the other day when Nanette said, “Glenna, tama yan (that’s correct), just slow down.” I also discovered something new on my own. While intently watching my hand move in a figure eight, I realized that my right thumb has been lazy, which is why it looks awkward. So I need to change that from now on. Ah, I think I’m getting it little by little. Yipee!

Now, we’re in the process of memorizing some dances that Nannette taught us. It’s my first time in a long time to memorize a dance ( I just copy Nanette, he-he), and I must say, it’s starting to look good! It might not seem much to an expert, but to a beginner, it’s a big achievement.

How happy for me to have found a dance company that welcomes all, no matter what age or shape you may be. No blood, sweat, and tears here. Just a lot of sweat. And smiles. And pancit. And ice cream. All that, and I get the privilege to carry with me a treasure from the past– a bright gleaming jewel from long ago, which I hope I can also pass on to others.

Glenna Leano-Casalme is an on-line English teacher and a very enthusiastic dance student who started learning pangalay in January 2008.

To dance in Paris is an exciting dream, for it is said that “the whole world sings and dances in Paris.” But to dance a little-known Philippine dance called pangalay in Paris is more than a fulfilled dream. It is a provocative cause to promote good faith between two peoples and two nations in celebrating the 60th Anniversary of Franco-Philippine relations.

On 27 June 1947, the Philippines and France signed the Treaty of Amity in Paris that established diplomatic relations between two countries with intersecting historical and cultural paths. As far back as the 1500s, 15 Frenchmen among Ferdinand Magellan’s crew already came to the archipelago. By the early 1800s, a French community settled in Jala-jala and French traders already did good business exporting Paris fashion and goods to Manila while importing our indigo. Of course, the greatest contribution of France lay in its revolutionary history and libertarian ideals that inspired Filipino heroes like Jose Rizal, Andres Bonifacio and Emilio Jacinto.

But do you know that in May 1828, French navigator and geographer Dumont d’llrville visited Jolo and offered gifts to the Sultan of Sulu? I imagine he was beguiled by the beauty of the Sulu Archipelago with its majestic seascape, colorful traditions and exquisite arts as evidenced by the pangalay dance style. Pangalay is a pre-Islamic dance style related to the classical dances of Cambodia, Thailand, Japan and other Asian countries.

With such a rich heritage behind it, dancing pangalay is a boon to international relations. It was Ambassador Jose Abeto Zaide, Philippine ambassador to France, who worked for promoting diplomacy through pangalay. Having seen the AlunAlun Dance Circle perform 2 years ago at the Ateneo de Manila, the ambassador professed, “This is the group I must bring to Paris.” The ambassador sought help from the National Commission for Culture and the Arts (NCCA), Zuellig Group of Companies and the Dome X’Pats Group. And then…

Bonjour, Paris!

From 8 June to 3 July 2007, I danced pangalay in France with my teacher and choreographer Ligaya Fernando-Amilbangsa; fellow dancers Louanne Mae Calipayan, Joy Grace Ricote, Rama Marcaida, Mahail Hajan and Trini Derbesse; stage manager Perry Dizon; and photographer Richard “Bahaghari” de Guzman. During our stay, the AlunAlun Dance Circle also conducted dance workshops among Filipinos at the Philippine embassy. We performed in 7 different venues: the Philippine Embassy, Paris’ new Quai Branly Museum, the Ambassador’s residence, the Maison des Cultures du Monde (Institute for World Cultures), the Maison de l’UNESCO-Grand Auditorium, the Pistang Pilipino in Stade de la Muette and the Eglise Saint Severin.

In almost all performances, the show began with a French narration of “What is Pangalay?” The lucid translation by French Filipino Trini Evangelista-Derbesse endeared us to French-speaking audiences. The pure narration with no music was animated by seamless movements as dancers flow from one gesture to the next wearing colorful and authentic costumes of the Sulu Archipelago.

The dance-narration prepared the audience for the succeeding pangalay choreographies –sassy in “La Vie en Rose,” wacky in Yoyoy Villame Suite (“Granda,” “Butsikik,” “Mag-exercise Tayo,” among others), somber and majestic in “Stillness in Motion” (with original music by Isha Abubakar).

At the UNESCO Auditorium on 27 June 2007, the international audience was regaled by the creative collaboration of the AlunAlun Dance Circle and the Philippine Madrigal Singers. We performed innovative dance compositions to the Madrigal Singers’ touching renditions of “Importance of A Rose,” Yanni’s Aria from “Flower Duet” and Gary Granada’s “Tagumpay Nating Lahat.” The latter’s choreography creatively utilized two long cloths representing the banners of France and Philippines joining together with the number 60 in between, replicating the 60th anniversary logo.

By the end of our Parisian adventure, we were filled not just with memories of celebrated performances, but also with experiences so telling of the good faith between French and Filipinos: like Ligaya catching pneumonia but still dancing out of sheer commitment; Mahail collapsing with near-death experience at the Arch of Triumph and treated wonderfully by the French ICU staff; and myself getting lost in a deserted train station at 2:30 a.m. and escorted home by a French stranger.

We will always remember the rare opportunity of sharing pangalay with Pinoys in Paris. They made us feel at home in France, sharing with us their homes, their lives and their cooking. It was a great privilege to dance for them. Majority of our audience were OFWs who clean houses and look after children or aged citizens of French families. I learned that in France, having a Pinoy as housekeeper or nanny is quite a status symbol.

Thus, I realize that one of the essential meanings of the 60th Anniversary of Franco-Philippine relations is what Pinoys make of Paris. I think the city of lights is a better place with Filipinos around.

[The writer is the managing director of the AlunAlun Dance Circle, a dance group dedicated to the conservation and popularization of the pangalay.

The AlunAlun Dance Circle performs in a series of goodwill performances to commemorate the 60th Anniversary of Franco-Philippine Relations

June 12, 8pm
Independence Day soiree at the Embassy

June 13, 1030am
ASEAN Ladies Circle dance/lecture at the Ambassador’s residence (20 minutes)

June 14, 730pm
Performance at Musee du Quai Branly for book launch of Museum Treasures of Southeast Asia

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 Embassy

June 23, 8pm
Lecture/Performance at Maison des Cultures du Monde (full show)

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.

July 1, 11am
Performance at Pista sa Paris

Click here for additional Information

That’s what we did for three exhilarating days–dance to gongs, drums, and kulintangan–as we joined hearts and minds with our Asian neighbors in the magic of dance. Nothing equals the joy, warmth, good-will, understanding, compassion, and instant friendship that dancing together can bring.

At the first-ever International Conference on the Conservation and Popularization of Pangalay and Related Asian Dance Cultures, held on Feb. 8 to 10 at the Riverbend Hotel in Marikina City, Cambodians, Indonesians, Thais, Malaysians, Japanese and Filipinos moved to the same beat, sans the directive of any government official or diplomat.

The conference was organized by the AlunAlun Dance Circle which propagates pangalay, the traditional dance which took root in Tau Sug communities in pre-Islamic and pre-Christian times. “Pangalay is our most truly Philippine dance because it antedates the other influences that shaped our culture. It is pre-everything!” stresses Ligaya Fernando-Amilbangsa, 65, the foremost proponent and performer of the dance today.

Its striking resemblance to the Asian dances demonstrated at the conference with their accompanying percussive music points to the mother culture of India as common source. Hindu and Buddhist influences are apparent in the gentle gestures and linguistic borrowings that still linger in our intangible culture. Pangalay in Sanskrit means “temple of dance” and is related to “offering” as in our Philippine word alay.

“We want to feel our cultural links with our Asian neighbors and strengthen our sense of identity through the powerful soul connection of dance,” explains conference director Dr. Maria Teresa Sicat with smiling eyes. A retired UP English professor and former Dean of Humanities of the Central Colleges of the Philippines, she has been dancing with the AlunAlun Dance circle for six years now. In a charming talk, she shared her experience of coming under Amilbangsa’s tutelage at age 60. “I have never felt more Asian and more Pinoy than when I started dancing the pangalay,” she attests.

The slow, flowing, meditative dance, performed with intricate hand movements and mincing and shuffling steps, has obvious relationships to Thai and Cambodian classical dance, Javanese wayang wong, and the different types of Okinawan traditional dance collectively known as Ryukyu Buyo. Traditonal martial arts (pencak silat) in the various Asian societies, including our Sulu archipelago, are also undeniably of one family, as are the dance forms that evolved from them.

When we were not dancing we were talking about dance. The perfectly-balanced conference interspersed entrancing dance demonstrations with scholarly papers on dance research and sharing of problems in dance conservation by such eminent academicians as Prof. Esteban Basilio Villaruz, head of the Dance Program of the UP College of Music, and Prof. Mohd Anis Md. Nor of the Cultural Centre, University of Malaya in Kuala Lumpur.

Intense attentiveness to the lectures, lively discussions during the open forum, and eager interaction during coffee breaks, indicated the great thirst for new inspiration among the 170 choreographers, dancers, dance students, dance troupe leaders, P.E. teachers, and school administrators who were fortunate enough to have gotten wind of the trail-blazing conference held in an unassuming corner of the metropolis. They came from all over the islands, from the Cordilleras to Zamboanga, seeking re-animation for their craft and mission, and they were touched by the unifying spirit of pangalay.

How to make Filipinos, especially the youth, love their culture and their country through the art of dance was their task as much as learning the dance for their own self-development. Their soaring enthusiasm culminated on the last day in group plans reported through dance for the propagation of pangalay , which Prof. Villaruz described in his book Treading Through 45 Years of Philippine Dance (UP Press, launched again at the conference) as the closest thing we have to a classical dance.

The moving spirit behind the event, and its undisputed “star”, was Ligaya Amilbangsa, whose delicate features and slight figure belie the dynamo of passion that she is when it comes to Philippine traditional dance. She fell in love with the dance during her years in Tawi-tawi as the young bride of Datu Punjungan Amilbangsa (her classmate at FEU), and has devoted more than 30 yrs of her life to mastering and teaching it.

A highlight of the conference was Amilbangsa’s sharing of her AIM (Amilbangsa Instruction Method) using the original stick drawings she devised decades ago as memory guide. Basic instruction begins with breath training along with hands and arms making a figure 8, the cosmological symbol for infinity. These progress to more complex finger contacts, flicking and flipping, also distinctive features of other Asian dance forms, in which they have even more intricate and subtle variations (mudras) and specific meanings.

No one can fail to be captivated by the soft elegance of the pangalay as performed by Amilbangsa. Clearly in her element among the other Asian performers, she displayed a wide repertoire with not a hint of fatigue, leaping and clapping in langka-silat (martial dance), fluttering and swaying in linggisan (bird dance), hopping and skipping with bulah-bulah (clappers) in tariray. The foreign guests, virtuosos themselves, were in obvious awe of her, and every participant wished to dance like her.

Amilbangsa recounted the start of her solitary journey with pangalay in the 1970’s when no one seemed to value it as part of our intangible cultural heritage. Disheartened by her failure to gain support despite offering free lessons, she went into hiatus for 17 years until Nannette Matilac of PETA (Philippine Educational Theater Association) tracked her down in 1997 for an interview. The two have closely collaborated since 1999 in forming the AlunAlun Dance Circle, which nurtures pangalay devotees in Sunday lessons at Amilbangsa’s studio in Antipolo.

The importance of having a system for passing on such an ephemeral art form even in its place of origin was poignantly brought to the fore by Prof. Mahail Hadjan, Head of the P.E. Department of Mindanao State University College of Technology and Oceanography. Leader of the Tambuli Cultural Troupe founded by Amilbangsa in 1974, and still an agile performer, he confirmed that in Tawi-tawi communities today, pangalay is overshadowed by pop culture imbibed through mass media. Were it not for Amilbangsa’s documentation and conservation efforts, he said, pangalay would have become extinct.

A meticulous scholar besides being a riveting performer, Amilbangsa has written two landmark books on Sulu archipelago culture, Pangalay, published by Ayala Museum in 1983, and Ukkil, published by the Ateneo University Press last year. “Pangalay is dying in its cradle,” Amilbangsa and Hadjan lament. Video footages taken by Nannette Matilac in neighboring Malaysia showed children doing the ocho-ocho with pangalay hand movements– which would have been amusing were it not so culturally tragic.

Yet Amilbangsa’s group insists pangalay is not to be viewed as a rigid artifact, for the very nature of dance is that it is constantly evolving in time and space. At birthdays, anniversaries, book-launchings, and NGO gatherings, AlunAlun has performed pangalay to classical, folk, and western and local pop music. “For it to remain alive, it must be kept versatile and adaptable. First, one must master its vocabulary, then one can create and improvise,” Amilbangsa points out.

What about tinikling, itik-itik, maglalatik, and all that we know as “folk dance”? Peter Paul de Guzman, Fil-Am dance teacher of Culture Philippines Folk Arts in Los Angeles, provided some clues in his talk. To Filipinos abroad, engagement with Philippine culture and its conservation is a living issue, he said. Whereas the generation of his parents copied the dance productions of the touring troupes like Bayanihan and the Ramon Obusan Dance Troupe, young Fil-Ams today want to define their “Filipinicity” by drinking from the source–Inang Bayan. De Guzman, 26, already an accomplished performer who would do us proud in any international production, is now learning pangalay with Amilbangsa.

To keep pangalay alive for future generations, everybody agreed, we must simply keep dancing it. And so we did.

High energy filled the hall in jamming of the most elevated kind: Mr. Sukarji Sriman of the University of Malaya, in full traditional Javanese costume, led the dance to appreciative cheers. He was followed by handsome Minangkabau martial arts-dance master Mr. Indra Utama of the Indonesian Arts Academy of West Sumatra. Ms. Kazue Higa, who had danced in Okinawan costume on Day One of the conference with her colleague Ms. Takana Kojima of the Research Institute of Okinawa Prefectural University of Arts, took to the floor in her blue jeans. They were gamely joined by Mr. Ben Suzuki, affable director of the Japan Foundation in Manila (the main sponsor of the conference) who graced all three days of the conference with his active presence.

In glides Ligaya Amilbangsa with the undulating arm movements, serene demeanor, and downcast eyes of pangalay, and though the kinetic energy doesn’t diminish, a kind of hush descends at the sight of her, breath-taking despite her being in street clothes. The future tugs at us, symbolized by two cherub-faced boys and a gifted young dancer (Chloe Bernardo of the Makiling High School for the Arts), all lovingly trained in the art by Amilbangsa. To them we must bequeath all the beauty and grace of the Pinoy soul as embodied in pangalay.

It is a dance that we can learn while very young, and continue dancing with dignity until we are wizened and white-haired. It is a dance that we can do from our loob with our Mindanao brothers and sisters, as well as with our kababayan abroad. It is a dance that could connect us with our own leaders–were they to dance it with us. It is a dance that returns us to Asia; it is a dance we can share with the world. It is a dance to bring us home to our true selves.