making up stories about the arts

dance. theater. film. music. visual arts. journalism. workshops. family. health.

CHECK OUT MY OTHER SITE: ednavida@multiply.com

Thursday, June 19, 2008

Part 4: CCP Wi Fi 3 New Choreographers Competition

Part 4: CCP Wi Fi 3 New Choreographers Competition

Okay guys, don’t worry. In general you were truly enticing. I saw you ONCE and you got my first impression. But to an audience, the first impact is IT.

Now that you know how it feels to compete, take the next step. Go furthur. Move on. Mull on the important rules of competition:

1. Think of a unique concept. Make the judges remember your work. Stand out!

2. Avoid gimmickry. Truth is the silent music of dance, and the loudest.

3. Don’t be afraid to repeat movements. Repetition is a breather. Repetition is emphasis. Repetition is a reminder. Repetition is powerful.

4. Don’t move all the time. Stillness can be a diamond in an outbreak of steps. Be familiar with the drama of immobility.

5. Structure. Structure. Structure. Don’t be carried away by movement itself. Don’t self-indulge. Have a clear beginning, middle and end. Come up with a finished and complete art work.

6. Lock yourself in the room and think, think, think. Get out of the box. Be crazy. Dare. Explore. Experiment. Don’t be safe and dull. Get good music – it will assure 50% of your success.

7. Have a ‘second eye’ and listen to fresh opinion. When you are too close to your work there are many things you no longer see. Make sure your ‘second eye’ is frank and unbiased.

8. Be confident. No one in this world is spared disappointment. Don’t be stumped by failure. Lick your wounds but never succumb to defeat. Tomorrow is another day.

9. Don’t be too proud to keep growing and learning until you die.

10. Don’t take yourself too seriously. You’re just another human being serving God like everyone else. One hundred years from now, who’ll remember your work? … unless you’re another Martha Graham and, guess what? a lot of people don’t know her anymore. Sad, no?

Jury for New Choreographers Competition:

Nestor O. Jardin, Chair

Basilio “Steve” Villaruz

Denisa Reyes

Shigemi Kitamura

Nonoy Froilan


Wi Fi Body Independent Contemporary Dance Festival 3

June 12-15, 2008

In cooperation with CCP, NCCA, Japan Fundation Manila, Instituto Cervantes Manila, Embajada de Espana en Filipinas,Ministerio de Cultura, Gobierno de Espana, Allince Francaise de Manille, Ayala Corporation



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

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


Which Way? – choreography and performance by Rhosam Prudencio

The motto is: Start with what is closest to your heart. Add to that good sincere dancing and the Second Place prize is bagged. After basking in this glory, Sam, move away from the weathered where-am-i-where-will-i-go-i-am-confused dance theme. Use that talent to explore untried ideas. Keep discovering yourself. The way may have been well paved for you and, given that, take the many new and winding roads out there.




Subside – choreography by Madonna Louise Vitales, performed by Nicollete Arcaire Agunday

Faint and subdued. I wanted to see more impact and creative confidence. I sensed a holding back, a kind of hesitance in creativity and performance.

Go girls. You took the risky first steps, traipse on, boogie, float, spin, even schlep towards growth. Be more unconventional and assertive next time.





The Spark Within – choreography and performance by Jed Amihan

Another darkie with a bit of spark. Jed contained
illumination in one palm and the spark flickered from without. I wondered, if he placed the light in his mouth … more interesting?

Like Johnny in his Mananggit … guys … utilize the prop. Abuse and misuse it – let it come from your guts. Nice movements, Jed, but give me surprising peaks next time. The light in the palm is so safe. Put it somewhere else but not as a gimmick. Let all the stage lights whoosh then black out on the spark. Something striking like that would’ve made a more memorable ending.






Temperature – choreography by John Philip Martir, performed by Carlos Deriada

and John Philip Martir

Good compositional structure (like the next duet, Blank It). I find duets interesting because there is more room for return thrusts and bounce-offs. This, John did with ample success. Not enough Umph though. Something, something more electrifying should’ve struck me hard I know but it just didn’t come.

It’s a sizzling physical duet but the temperature didn’t exactly rise and fall. Make it hotter and colder.



Blank It – choreography by Chantal Primero, performed by Chantal Primero and Nicole Primero

Delightful and charming girlie duet. Good structure. Good concept. This piece held my attention because I kept wondering where it will go.

Chantal cleverly sets the journey and takes us on a flight to … well, a blanket. Well that’s rare enough! So I was thinking, are they sisters? Lesbians? Friends? Good work, Chantal – you made your audience think.






Manoy – choreography by Julius Legare, performed by Julius Legare and Deejay De Vera

First Place winner and rightly so. It was the most finished product. Message clear. Music and choreography funny. Different. A dance about two basketball wannabes getting too close for comfort, with sensitive nuances of ‘gayhood’ that’s not overdone. Their discomfort is felt intimately – rare in a gay subject – and quaintly portrayed by the two males.

Just one problem. The synopsis read: “Manoy explores relationships of bodies as they relate in the four realms of human experience: the physical, the historical/social, the symbolic/mythical and finally the integrative realms.”

Huh??? Just say it’s about two men who are attracted to one another and there is no closure! This was the winning piece because it was strikingly distinct from the rest.


Mind & Eye – choreography and performance by Joel Simbulan

A bandaged hands. Death in the end? You’ll need to rethink and restructure your message and make it scream. Or maybe do a piece about how your little finger can scratch the hell out of your body. I’d remember that.

Keep going though. Nice try. Don’t lose hope. Slap me a winning piece next year. You’re a fabulous dancer.

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.