I was just one of the scholars of the CCP Dance Company when Lucrecia R. Kasilag – fondly called ‘Tita King’ by everyone – was CCP president and artistic director. As far as I was concerned, she was second only to Imelda Marcos, then First Lady and the most important figure in the Philippine art scene. My sister Alice (Reyes) had completed a successful modern dance concert at the CCP after which she approached Tita King to talk about a subsequent summer dance workshop. It was granted. Then, with Jaime Zobel de Ayala, they later talked about a putting up new dance company. Granted again. Today, 40 years later, that company is Ballet Philippines, a company that holds a formidable track record in Philippine art history.
As a nobody in the 70’s, I would cringe and cower at the backstage corridors whenever Tita King passed by to congratulate the dancers after a show. People worshipped her and I preferred to slip in the safe shadows of oblivion. The woman, afterall, was a world renowned and multi-awarded composer, performer, teacher, administrator, pioneer, leader etc., etc. I’d eye her at the CCP lobby during opening nights and was awed by the number of people flocking around her. Oh yes, she was a King alright and I was but her admiring, unknown minion.
A few years later, I did have to approach her. I was getting married, you see, to Nonoy Froilan. As lead dancers of the company it was appropriate that she be one of our wedding sponsors. “Sorry Eds,” Alice told me, “but for this special occasion, you’ll have to ask Tita King yourself.” Oh boy, how difficult was it to get married?
Nonoy and I timidly went up to her office at the third floor of the CCP where I have never been before. She was seated behind a desk full of important-looking, intimidating papers; contracts, documents, treaties, bonds … why should she bother with us? We were just getting married.
“T-t-t-tita K-k-k-k-king,” we began …
To my astonishment, she pulled out a minuscule appointment book – the ones minor people use – and jotted down the date of our wedding. Tita King! I wanted to shriek, You’re the CCP president and our appointment books are the same! That was how 'cowboy' she was.
My next encounter with her was when I had to choreograph a full length ballet, Adarna, for Ballet Philippines. We asked her to compose the music which she warmly agreed to do.
One of her works, Divertissement, was used by Gener Caringal in his choreography, Ang Sultan. This was the most performed piece in our repertoire, danced all over the world with acclaim. Needless to say, her music contributed to the resounding success of the piece.
I was both thrilled and terrified to collaborate with Tita King for the first time. For Adarna though, I had only a few weeks on my hands and was a toxic wreck. She was very busy at the time and could not submit a music draft early enough. I had to choreograph in silence creating my own rhythmic patterns and imagining melodies. When we later met, I had this fantastic idea of putting the dances on video which she would watch and compose to. It’s the complete opposite of what was routine – music before dance. This was gong to be dance before music and she really got excited about it. How brilliant was that? I never found out because I flaked instead. I decided to put up an existing music colage of my own.
Telling Tita King that I would no longer use her services was like telling the Empress Dowager of China that she couldn’t run an errand for a slave. But she took it so well you wouldn’t believe she was this great artist … yet again, she proved that she was. She completely understood my predicament and gave me her blessing instead of her ire, agreeing instead to serve as music consultant with Rudy Vidad. And, as for my punishment, Adarna flopped. My apologies to all the fine artists involved in it.
Ridiculous as it may seem, when I started to write, I had the nerve to interview her for my column at the Manila Times. Again, she gladly obliged and I ended up writing two articles on her. That was when I caught her up close. Tita King was the most down-to-earth legendary figure on this face of the earth. I learned, just from her disposition, that the greatest of the greats are the most humble, unassuming, self-effacing and extremely funny human beings. Tita King truly laughed at herself and was never the condescending person others (of slighter stature) often tend to be. No wonder people flocked around her.
When she fell ill, Nonoy and I kept promising ourselves that we would visit her. “Let’s do it next week? Next month? Next year?” We never did and this we mournfully regret. When I found out she had passed away, all I kept thinking about were the nights she was surrounded by countless followers. I’m sure she was looked after by loyal friends and relatives but where was everyone else – Nonoy and I included – when she was but a lonely, crippled, almost blind person? Is it only in death that we are to exalt her again?
As if on cue, today, on the day of our wedding anniversary, we got a call from Max Luna, one of the directors of Ballet Philippines. He asked us to please mount the pas de deux of Ang Sultan for Tita King’s necrological services at the CCP Main Theater this coming Thursday, Aug. 21. The dancers have two days to learn it. What better way to give tribute to our ninang, than to mount her work on the day of our wedding? We will rush to CCP tonight to rehearse the dancers.
And so, another magnificent soul has completed an outstanding journey. Thank you for everything, Tita King. You served us well and honored us, the little ones, your humble minions. Without you sitting on that throne many of us wouldn’t have made it. You basked in the glory of your influence and when it was all gone, you humbly endured alone. Where were we when you needed us? Fighting to reach the peak that you reached, perhaps, and now begging your pardon for our apathy. There you sat on your wheelchair anyway, cheering us on. For that you are truly a great person. Hail to the king! our beloved Tita King, who will surely receive her real crown in heaven.
Posts
