Review, Part 2: CCP Wi Fi 3 New Choreographers Competition

Review, Part 2: CCP Wi Fi 3 New Choreographers Competition
Set 1

Mananggiti (Coconut Sap Gatherer) – choreography and performance by Johnny Amar

Interesting movements, peculiar and out of the ordinary. Johnny starts off well with bamboo kawits but the minute he strips them off his Mananggiti becomes just another dance. He should have explored his unusual props and told a fascinating story about sap gatherers.

He started on the right track but veered to a safe detour, practically saying, “sandali lang, let me get rid of this gear because I want to dance” then, “oh yeah, gotta put the kawit back on …” Sayang.

Tubig-Ulan – choreography and performance by Mia Cabalfin

One of my favorites. Intelligent piece, beautifully danced by Mia. Only thing is, the concept is too broad and hazy.

She writes: “Tubig-ulan ‘di ko mayakap” (You are rainwater that I cannot embrace). A person, an idea, a dream, anything desired – something that seems so close, but that one can never really tangibly grasp – a vocabulary of the body translates this simple phrase.”

Duh? Good solo piece but not award-winning with thirteen others in the running. Mia, next time, try being crazier. I think you have it in you.

Bounce – choreography by Cristine Crame, performed by Richardson Yadao and Jairo

Ibarrientos

Audience Winner Prize. Crowd favorite. Researched and executed well. Too bad we saw Manoy (by Julius Lagare) first, another

basketball piece with a clearer concept. Cristine had a portion with the dancers on the floor. How I wished they stayed there. Playing basketball lying down would have made an impact – really out of the box. The minute they stood up … No! Christine! Don’t!

My advise is, use your exposure in Ballet Philippines – working with all those choreographers and their styles – and find your own Cristine Crame signature. Almost there with more idiosyncratic daring.

The Overture – choreography and perfomormance by Ea Torrado

The most charming and honest piece, very lovely indeed. It revolves around a ballerina’s edgy thoughts before a show. Surprisingly, with a background in ballet, Ea delved into contemporary movement with yawning passion.

She was a moving sculpture with a clear testimonial. Her body was eloquent. She knew what she wanted to say and said it well. This piece should have been one of the winners. It was a stand-out.

Battery Meter – choreography by Billy Sotillo, performed by Leodegario Demafiliz and Billy Sotillo

Good idea for a duet – soul versus machine – but Billy, you needed to nail it more. Active/Passive is different-complicated and you almost had it in the bag. Engaging and straightforward dancing by the two dancers. Brave and sincere.

You’re on the right track to self-expression. Keep going.

Sugilanon ng Awit sa Kahapunon (Stories and Songs in the Afternoon) –

choreography and performance by Deejay De Vera

Oh no another drag queen sob story!

The piece is a curious tale about an imprisoned lover-slayer who sends letters to a radio program. The protagonist Rogie’s liberated gay life ends in the morbid confines of a jail cell. Fortunately, this was stirringly illustrated in movement by Deejay. The Visayan radio voice relating the story adds intensity to the drama and there is poignancy lingering in the air.

Well-said and well-danced. Design can be improved. It was a tad too stretched. Shorter would’ve been stronger.

Moving Thoughts – choreography by Marius Centino, performed by Ian Nick Tiba

What captured me was the essence of the piece but it wasn’t enough. Let’s see … moving thoughts … thoughts moving … that can be a spectacle … so many different reflections … varying dynamics … funny, sad, angry,wild, limp, young, old … I can go on and on.

The problem is, Marius, the title gave you so much potential for movement but you lingered in a few similar thoughts. Next time, explore the idea to the fullest and it’ll be a smash.