Blog

Gary Buenavista

By Nannette Matilac,  ADC Managing Director

with additional article by Rama Marcaida, ADC member

Ten years of learning, dancing, teaching, and spreading pangalay went by like the gentle breeze that cooled the sultry afternoon when we celebrated the 10^th anniversary of the AlunAlun Dance Circle (ADC) on 25 April 2010.  We did not feel a decade had passed, having imbibed the dance’s timeless mode. The dance taught us to honor the present, making it a gift we had to share with relatives, friends, artists, Filipino society, humanity, and the Earth.

The idea of celebrating was a spontaneous one. In the spirit of sharing and giving back to the Life Force and Breath that is the origin of pangalay, we thought that the best time to celebrate our 10^th year was within the week of Earth Day, April 22. But the celebration must be on a Sunday, like regular pangalay classes which were held routinely on Sunday afternoons. The venue must be the studio, the space that nurtured beautiful ideas and choreographies for the past ten years.

“Let’s keep it simple,” Mariel Francisco, Temay Padero and myself, agreed.  We were the “committee” that decided on the preliminary planning of the 10^th anniversary, about twelve days before the event. The committee had to wait for the following Sunday class, April 18, before a decision could be made by a quorum because Ligaya Amilbangsa was in Tawitawi, CB Garrucho was in France, Rama Marcaida was in Surigao, and Punch Gavino was busy checking term papers.  Sunday class came and those present agreed that the event on April 25 must push through:  It was Earth Week and the moon was waxing its way to fullness, a good time to celebrate. The decision was a unanimous and optimistic “yes.”   But can we do it, seven days before the event? We hadn’t done much except the copy of the invitation with a beautiful tag line: “Jamming for the Earth’s Well-being– Let our dance, music and poetry soothe Mother Nature’s lamentations.”

Like a subtle attack of asthma, everyone became disturbed with the reality of an impending major event with last minute preparation. We could not concentrate on dancing, assaulted by the reality of linear time: it was barely a week before April 25! We aborted our dancing to plot out the guest list, the menu, the program, the production design, and the technical aspects of holding a garden event. We felt a real sense of accomplishment after chancing upon Kuya Ed, a Mamang Sorbetero who tinkered his bell outside the studio, and immediately commissioned him to be the event’s giver of bottomless ice cream. Then we arranged a deal with a neighbor who owns a videoke machine, to ensure a viable sound system for the show. Next instant, the caterer who lived nearby came and promised to be in charge of food and beverages.

The same Sunday night, visual artist Mithi Lacaba, excited with the idea of “Jamming for the Earth’s Well-being,” came up with a beautiful design utilizing powerful images of a hand with janggay (metal claws) and the planet Earth. The 10^th Anniversary invitation with the Earth and janggay logo was circulated through the Internet, a fast way to invite people. And thanks to text messaging, the group sent out advance invitations while streamlining the event preparations

As the event drew near, there were so many “what ifs” that made us feel anxious and uncertain. The most dreaded of them all is:  What if no one came to the celebration because of the short notice?  But we stuck to our resolutions: Let’s enjoy. Dance for ourselves. No fanfare. Honor the moment. Go with the flow.

And it worked! All the people who were meant to be there, came. Many brought along relatives, friends, and children of all ages. There was a relaxing atmosphere of family togetherness and camaraderie.  The venue was just perfect.  The green grass carpeted the two-tiered grounds, origami butterflies dotted the garden, and the scent of the lighted incense gave a spiritual tone as the ceremony opened with a simple ritual to bless and express gratitude to Mother Earth.

Two groups of musicians (Pangalay Artists Circle and Musika Sofia) alternately played neo-ethnic and classical pieces.  Dancers, writers, filmmakers, religious, teachers, restaurateurs, neighbors, relatives, and friends participated in the solemn Earth ceremony and the spontaneous pangalay tutorial. The pangalay dance numbers were unstructured and very much appreciated whether with poetry or with music.

Many things conspired to make that day perfect. Guests exceeded the expected number, but strangely, provisions from a tiny budget were bountiful and flowing: Pinoy ice cream, vegetarian lumpia, heavenly sandwiches, juicy barbecue, sago and gulaman, delightful puto, and the mandatory pancit for long life.  The weather was glorious. The summer sun was intense but the continuous breeze cooled the air. Mother Nature communicated her happiness as we paid our respects to Earth through our dance, music, poetry, and care for the environment. –Nannette Matilac

CELEBRATING PANGALAY!

By Rama Marcaida

Gary Buenavista

April 25, 2010, Antipolo City– It was a gathering of families, friends, artists, supporters, and admirers of pangalay. The youngest was Bea, four months old, who was attentive and wide-eyed during the whole event. Who knows? Maybe this early, she imbibed the music and gestures of pangalay, and later would become a pangalay dancer herself.

Some 20 dancers, from youngsters to elder citizens, danced pangalay, breathing as one, and giving life to our distinct heritage. It was nothing short of wonder. A decade of active existence is a joyous achievement, especially because the jubilation is about the survival of an endangered dance form being kept alive in Metro Manila, where the dance is carefully nurtured with love, like the healthy plants and flowers that thrive in Ligaya Amilbangsa’s garden.

How could the dance style continue to exist far away from its original territory, the Sulu Archipelago, where it used to thrive 40 years ago? How could the dance survive when one of its ethnic roots, the Sama Dilaut of Sulu, have long sought refuge in squatters colonies like those along the railroad tracks in Biñan, Laguna; and, some have settled inconspicuously under the depressing shadow of the long bridge between Rosales and Villasis, Pangasinan?  How could the dance tradition endure when it is now performed to beg alms from indifferent commuters inside crowded buses, by vagrant Bajau children, dressed in faded patajung, to the frenzied pounding on improvised PVC-pipe drums?

Notwithstanding this reality, the pangalay continues to beat in the hearts of the members of the AlunAlun Circle. Our weekly Sunday afternoon sessions restore the link between the present practitioners and the original pangalay dancers of yesteryears. Even just for this, we are truly grateful.

The ultimate dream is for the AlunAlun Dance Circle to, one day, re-introduce the dance as preserved by Ligaya Amilbangsa, back to where it originally sprung, in the remote islands of the Sulu Archipelago. When that happens, it would be an event worthy of an even larger festivity for us.

Helping to restore a treasure back to where it once was a healthy and living tradition is a goal that the AlunAlun Dance Circle wants to achieve with other cultural workers in the Sulu Archipelago. Furthermore, it would be a crime against humanity if the oppressed indigenous people of Southern Philippines like the Sama Dilaut are forever deprived of their cultural heritage. They have the birthright to dance and claim their freedom back in their homeland, as refugees no more.

This is a wish, not of one person, but of everyone whose heart reverberates with the spiritual drone of the bula-bula, kulintangan and agung. Personally, I raise and extend a janggay-ed hand for the realization of this dream. I will dance pangalay until my mission ends with my last dance. But for now, we are thankful that we are able to dance, sustain and perform  pangalay.

We acknowledge the individuals who brought out pangalay from obscurity. Ms. Nannette Matilac who pursued Ligaya Amilbangsa’s life mission to share her priceless knowledge of pangalay,  and to others who followed her footsteps, led by the ancient spirit of dance ancestors, and in so doing become repositories and culture-bearers of this nearly-forgotten Filipino dance –  C.B., Punch, Mariel, Temay, Bobbie, Auchie, Joy, Louanne, Roseanne, Matthew, Mahail, Jimo, Nerisa, Mannex, Tif, Lidia, this writer included – all members and students, past and present of AlunAlun Dance Circle.

To Ms. Ligaya Fernando-Amilbangsa, the valiant culture-bearer who came forth with the Promethean fire that is Pangalay, who dedicated her whole life to the preservation and propagation of this sacred dance–we say: “Maraming salamat po!” We look to the future, to another ten years of blissful dancing.

Congratulations Ligaya FernandoAmilbangsa and the AlunAlun Dance Circle!

Mabuhay ang sayaw ng lahing Pilipino! Mabuhay ang Pangalay!

–written May  7, 2010 by Rama Marcaida

Our Program:

AlunAlun Dance Circle’s 10^th Anniversary: Jamming for the Earth’s Well-Being

Ode to Earth

AlunAlun Dance Circle (ADC)

Ceremony led by Mariel Francisco with dancers:  Gimo Angeles, Tif Guevara, Rose Anne Jasareno, Rama Marcaida, Temay Padero, and Mannex Siapno,;  CB Garrucho with Children of Lopezville: Rozan Trishia Aliwalas, Julie Anne Cristi, Ira Andrea Gaviosa and Claire Adeleine Mendoza

What is Pangalay?

Pangalay Artists Circle of Emilio Aguinaldo College (EAC) and AlunAlun Dance Circle (ADC)

EAC: Levi Azarcon,  Christoper Barredo, Mavic Bunayog, Ria  Bautista, Joan Co, Pamela Corres, Mark Granada, Jerome Joco and Jane Kathlene Mamplata

ADC: Rose Ann Jasareno, Gimo Angles, Rama Marcaida and Mannex Siapno

Linggisan

Dance imitating movementsof a bird using janggay or metal claws

led by Ligaya Fernando-Amilbangsa with pangalay advocates, Matthew Santamaria and Nerisa Guevara, and ADC dancers Louanne Calipayan  and  Rama Marcaida

Haiku and Dance

Poetry by Roger Mangahas  with translation by Marne Kilates

Read by Roger Mangahas and Fe Mangahas

dance interpretation by AlunAlun Dance Circle:  Gimo Angeles, Punch Gavino, Mariel Francisco, Rose Anne Jasareno, Rama Marcaida, Temay Padero and Mannex Siapno

“Paruparong Bukid”

Music by Gilopez Kabayao

Solo dance by Nannette Matilac

“Pang-alay”

Poetry by Benilda Santos

dance interpretation by AlunAlun Dance Circle

Pangalay for Everyone

Ligaya Fernando-Amilbangsa with

the participation of dancers and audience

Live music by Pangalay Artists Circle musicians

“I Love My Country, Philippines”

Music by Yoyoy Villame

AlunAlun Dance Circle

Ligaya Amilbangsa, Gimo Angeles, Mariel Francisco, Pacita Gavino, Rose Ann Jasareno, Rama Marcaida, Temay Padero and Mannex Siapno

Toast for AlunAlun’s 10^th Year

Symbolic toast by 10 people representing groups, sectors, institutions

Ligaya Amilbangsa for ADC, Edna Manlapaz for Ateneo Library of Women Writers (ALIWW), Gina Gil for Ateneo University Press, Fe Mangahas for women’s sector, Amihan Abueva for children’s sector,  Ria Bautista for EAC Pangalay Artists Circle, Steve Villaruz for UP Dance Program and World Dance Alliance, Ms. Corazon G. Iñigo, president of the Philippine National Counseil International des Organisations de Folklore et d’ Arts Traditionnel (CIOFF), Matthew Santamaria as proxy for Ben Suzuki of Japan Foundation, Nini Matilac for mass media

Refreshments

JAMMING for Mother Earth

Musika Sofia

Recorders:  Mark Abesa, Lisa Decenteceo, Rinna Soriano, Dino Guadalupe

Harpsichord:  Joy Guadalupe

Pangalay Artists Circle musicians:

Roselier Azarcon, Mark Anthony Castillo, James Galo, Leo Hsieh, Paolo Macarubbo, Bobby Madubuike, Ujwal Shrestha

Artistic Director: Ligaya F. Amilbangsa

Host: CB Garrucho

Technical Director: Nini Matilac

Graphic Artist: Mithi Winona Lacaba

Our Guests:

We would like to thank those who came: nature lovers, environment workers, feminists, human rights advocates, child rights workers, artists, expats, former students of pangalay, pangalay advocates, teachers, and friends.  Some of them were: Steve Villaruz and Cora Inigo who are now revered personalities in Philippine dance; Paul Morales, artistic director of Ballet Philippines; Jim Ward, owner of Bliss Café in Baguio City; Chrissie Matheson, expat; Gari Buenavista, photographer and graphic artist;  Alvin and Pilar Soriano, owners of Diego’s Pizza of Marikina;  Mr. Chito Francisco of Alliance for Mindanao Off-grid Renewable Energy (AMORE) Program; Lormi Lazo and daughter; Lyvia Martinez and Nora of Bali Hai Restaurant, Ms. Gina Gil, Ateneo University Press; Ms. Edna Manlapaz, ALIWW; Dr. Marife Yap, Ateneo School of Medicine and Public Health; Fr. Mike Lambino, S.J. of  Jesuit Residence with friends; Ms. Linda M. Tajonera; Lee,  Sarah and Phoenix Tajonera;  Milo and Cynthia Paz, ADC videographers since the beginning; Lucille Quiambao, freelance broadcast producer; Miriam Lacaba, artist; Priscilla Teodoro, visual artist; Jamaica San Pedro and Jeff Gonzales of I Love You Store; Dena Fernandez, concert marimbist and PPO member; Pearlsha Abubakar, writer and composer; Robert  Quebral, TV director and filmmaker; Amihan Abueva, child rights advocate and regional director of Asia ACTs;  pangalay advocates and former students of pangalay: Matthew Santamaria, Auchie Villaraza, and Nerisa Guevara;  Prof. Julkipli Wadi of UP; Joy Wadi, pangalay student who came with daughters; Fe Mangahas and Roger Mangahas; Musika Sofia of the UP College of Music, Pangalay Artists Circle of Emilio Aguinaldo College; our loved ones who supported us for the last ten years; and, the neighbours in Lopezville.

Many also sent their congratulations and good wishes through text messages and e-mail, saying that AlunAlun has done a good job in keeping pangalay alive. They could not come due to previous commitments, or were out of town. But they were with us in intention and spirit: Malou Jacob, Executive Director of NCCA; Dr. Ricky Abad of ADMU; Ben Suzuki of Japan Foundation; Ambassador Jose Zaide; Ambassador Laura Q. Del Rosario; Dr. Benilda Santos (who was sick but wrote a poem for the occasion); Gardy Labad, theatre artist and cultural worker; Carmen Cabling, writer and environment advocate; Ellen Ongkeko, filmmaker and independent producer; Perry Dizon, theatre artist and ADC’s stage manager for many years;  Upeng Galang of PETA; Brenda Fajardo, visual artist; Mary Joan Fajardo, child educator and artist; PETA-MTTL members who studied pangalay; Wayland Quintero, Hawaii-based theatre artist; Chloe Bernardo, pangalay student now studying in the US; Peanuts Panares of DepEd;  Cynthia Lumbera, writer-editor; Fr. Rene Javellana, S.J., Ms. Carmel Daez, among others.

Thank you and congratulations to all of us for a successful Jamming for the Earth’s Well-being!

The best way to celebrate friendly relations with a Southeast Asian country is through dance and music. On 24 November 2009, the AlunAlun Dance Circle performed with the Sanggar Budaya Tari at the Heritage Hotel, Manila to commemorate the 60th anniversary of good relations between Indonesia and the Philippines.  With less than three weeks of preparation, members of the ADC (Nannette Matilac, Rose Ann Jasareno and Temay Padero) learned a Balinese dance and a Minangkabau martial dance from the members of the Sanggar Budaya Tari.  Meanwhile, the Indonesian dancers also learned pangalay and bula-bula (dancing with bamboo clappers), which they performed with relative ease.   Owing to the affinity of pangalay dance tradition with Indonesian dances, both Filipino and Indonesian dancers were able to learn the new choreographies within several sessions of dance instruction.

Other members of the AlunAlun Dance Circle who performed during the historic occasion were ADC artistic director Ligaya Amilbangsa, Punch Gavino, Gimo Angeles and Raymund Marcaida.  Raymund, who studied Balinese dances in Indonesia, also performed a solo Balinese dance number.  Joy Ricote acted as stage manager.

Check out the photos by Jun Malillin through the link below.

http://www.facebook.com/album.php?aid=137356&id=512617406&l=6ceb5bb0a8

By Raymund Marcaida

AlunAlun Dance Circle (ADC) arrived in Hanoi, Vietnam last May 28, 2009 with a two-fold mission: first, to present the Pangalay dance form to the Filipino Community based in Hanoi; second, to perform for the reception for the diploatic corps hosted by Philippine Ambassador to Vietnam Laura Quiambao Del Rosario. Both events were part of the celebration of the 111th Anniversary of the Declaration of Philippine Independence and the Philippine Heritage Month.
ADC had been fortunate to have been invited by Amb. Del Rosario as a result of an encounter with the ambassador and ADC’s Managing Director Ms. Nannette Matilac during an EU and Asia Europe Meeting conference in Hanoi last Dec 2008. Ms. Matilac mentioned about ADC’s advocacy, the promotion and preservation of Pangalay, an ancient but little-known Philippine dance style. Soon, the formal invitation from the ambassador came, along with the support from the National Commission on Culture and the Arts (NCCA). Ms. Ligaya Fernando Amilbangsa, co-founder and artisitc director of ADC, headed the eight-person delegation. The other members of the team were: CB Garrucho, Mariel Francisco, Punch Gavino, Rose Ann Jasareno, Nannette Matilac, Nini Matilac and this writer.

Hanoi is a very charming place, exuding with old world charm, teeming with colorful quaint shops, swarming with thousands of motorcycles. At the center of the city is the legendary Hoan Kiem Lake with its revered resident, the mythical turtle, that gave a magic sword to a brave leader who defeated the invaders .
ADC had two days to rehearse and to block the dances at the two venues: the Hanoi Press Club located behind the Metropole, the city’s most historical and luxurious hotel; and the Hanoi Sofitel, where the diplomatic event would be held.
Intuitively, Amb. Del Rosario suggested a rearrangement of the repertoire which turned out to be appropriate. Upon the ambassador’s suggestion, a new dance was added to showcase Pangalay’s versatility in adapting to Western classical music. The new dance was choreographed by Ms. Fernando to the music of Bach’s Air on G-String, right in the middle of the living room of the ambassador’s residence at the Sedona Suites facing the West Lake. (ADC delegation was billeted at the ambassador’s residence.) The newly choreographed dance was finished just before midnight, with the ambassador suggesting a thing or two on the choreography. Everyone was smiling and contented on the resulting piece of work. Thus, a new choreography was created. Its world premiere was on 1 June 2009 at Hanoi Sofitel Plaza.

The “Pista sa Hanoi” affair at the Hanoi Press Club was a typical Pinoy fiesta held indoor. Preparation was a labor of love by members of the Filipino Community who dressed up the hall with banderitas and native pahiyas arkos, complete with handmade flowers, fresh fruits and native handicrafts. For the first time, a Santacruzan was held around the block, with children and young adults parading in elegant gowns and tiaraed heads, holding symbolical objects from the bible.

Pista sa Hanoi was graced by the presence of artist Joey Ayala who performed with the passion of a poet, a nationalist and an environmentalist. In the spirit of creative collaboration, ADC danced to four of Ayala’s songs: “Magkabilaan”, “Walang Hanggang Paalam”, “Basta May Saging, Labing” and “Pasasalamat”. The ADC performance consisted of Pangalay being used in various musical forms, from a Lucio San Pedro lullaby classic “Sa Ugoy ng Duyan”, to traditional folk songs like “Sa Kabukiran” and “Paru-parong Bukid,” as interpreted by violinist Gilopez Kabayao; from novelty songs of Yoyoy Villame’s “Tsimis” and Ernani Cuenco’s “Kalesa, to Sampaguita’s rock classic, “Bonggahan.”

It is always a joy to perform for fellow Filipinos in a foreign land. Filipinos are always appreciative of anything that comes from the motherland, especially because they miss home. The ambassador herself, upon seeing Pangalay for the first time during the rehearsal, was teary-eyed and got homesick for the Philippines. Instantly, she knew that bringing Pangalay and ADC to perform in Hanoi was a right decision, the best!
Meanwhile, a lot of Filipinos were surprised upon learning that the dance is one of the indigenous dances of the Philippines. Positive comments from the audience, both from Filipinos and foreigners alike, affirmed what the Philippine ambassador felt for Pangalay. Ambassador Del Rosario was elated to learn of the favorable reviews from the international community.

The AlunAlun Dance Circle takes pride in promoting Philippine culture within the country and abroad. The ADC Cultural Mission to Hanoi will alway bring back fond memories of the warm hospitality of Ambassador Laura Q. Del Rosario and the Filipino Community, the warm reception of the diplomatic corps, Ha Long Bay cruise and shopping at Hang Gai and To Tich streets of the Old Quarter.

PANGALAY CHOREOGRAPHY IN “TAWAG SA BANTAYAN”
by N. Matilac
Lutgardo (Gardy) Labad was the director of a community theater production in Maribojoc, Bohol performed against the backdrop of the historic Punta Cruz watchtower. The production, “Tawag sa Bantayan,” with gala night on 18 December 2008 was a success. The performance was the soft launch of a community-based theater as part of sustainable tourism program. It was the fulfillment of a dream for Gardy, Ligaya and Nannette to create dance theater utilizing pangalay. The dream could not have been possible without the convergence of efforts and intentions: a supportive mayor in the person of Mayor Jun Evasco, 20 hard-working grassroots theater artists, the NCCA, the AlunAlun Dance Circle and the civil society in Bohol. The pictures at our photo gallery attest to the powerful fusion of theater and pangalay. (Please read related story below.)
Photos courtesy of Gardy Labad

Workshop site: Maribojoc municipality, Bohol Province
Schedule: October 10-20, 2008
Performance / showcase: October 21, 2008
Dance teachers: Ligaya Fernando-Amilbangsa and Nannette Matilac

The most challenging phase of conservation is in introducing a vanishing dance tradition anywhere in the Philippines and, typically, in a place like Bohol.

There were 20 participants, majority of them young people, in the pangalay workshop held at the gym of Maribojoc municipality, Bohol. Dance teachers Ligaya Fernando-Amilbangsa and Nannette Matilac used the Amilbangsa Instruction Method (AIM) in teaching the pangalay dance style of the Sulu Archipelago. Pangalay may look easy but the dancer must have strong technique and good physical preparation to be able to dance it beautifully, just like dance styles of Asia (Khmer, Thai, Balinese and Indian traditional/classical dances) and the West (jazz, ballet, contemporary dance).

The participants had undergone many hours of dance lessons in the past month before the pangalay dance workshop, specifically contemporary dance. Thus, their bodies were somehow prepared for the physical regimen of pangalay. However, they still encountered much difficulty in coordinating the hand and arm movements, the Asian dance posture, the bent and springing motion of the knees into slow, seamless and flowing movements.

Another important lesson was on breathing. The participants had to undo their previous training on dance that utilized linear counting. The AIM emphasizes the use of the inhale-exhale to guide the dancer in the movement. Counting steps and movements is strictly prohibited. The inhale-exhale of the breath is also the guide for ensemble dancing.

The greatest challenge for the teacher and the student is the figure 8 that should be executed in a very slow manner, undulating like the waves of the sea. In any given class, there are slow and fast learners. Combining slow and fast learners in workshop groups when doing the routine movements helped in speeding up the learning process for everyone. We combined fast learners with slow learners to facilitate learning. Repetition is important in gaining familiarity and mastery of pangalay postures and gestures. Thus, several hours each day were devoted to the review of the basic pangalay walk, glide, connectives and the figure 8. Majority were able to do the figure 8 routine but they still need regular practice to gain mastery of the movement.

After the basic lessons on pangalay, we volunteered to stay for another 5 days, knowing that 5 days of training in pangalay is not enough for the dancers to be able to apply pangalay postures and gestures to a new choreography about the Punta Cruz Watchtower. We helped in the choreography of the dramatic scenarios by applying the postures, gestures, stances, hand and arm movements in the dance drama. The play’s dramatic plot tackles the historic struggle of the Punta Cruz inhabitants in a bygone era against the marauders of the past, and the subsequent construction of the Punta Cruz Watchtower to help the local inhabitants of the past in fighting marauding slave traders.

The result was simply amazing. The Punta Cruz Cultural collective enthralled the audience with their pangalay movements in the 40-minute showcase which was the finale of the program on Monday evening, 21st of October 2008.

The well-received performance was the greatest proof that the syllabus we prepared based on the Amilbangsa Instruction Method was a success.

With the intensive course on pangalay, the cultural collective under the guidance of their director, Lutgardo Labad, will use whatever they have absorbed in the dance lessons to create an expanded and polished version of the showcase in a gala performance on the occasion of the launch of the Punta Cruz Watchtower cultural tour and performance. That’s in December 2008. We know it will be a great success, given the dedication of the dancers, mentors, sponsors, and their artistic director.

Prepared by:
Nannette Matilac and Ligaya Fenando-Amilbangsa