It is hard to believe Lisa Macuja-Elizalde has danced her last “Swan Lake”—well, her last full-length production of this popular ballet.
Barely midway into the workout, the young men—both pros and weekend athletes—sweat profusely as they clutch the ballet barre. Standing with their heels lifted and squeezing a ball between their knees, they pump and pulse incessantly.
One day 30 years ago, Hazel Sabas-Gower, principal dancer of Ballet Philippines, woke up with swollen eyes and distorted vision that it interfered with her rehearsals. She was at the peak of her career, essaying lead roles in the classics and contemporary works.
The first time Fokine’s immortal choreography “The Dying Swan” (to the music of Saint-Saëns) was seen at the Cultural Center of the Philippines was in 1981, when the great Maya Plisetskaya danced it in Manila when she was already pushing 60.
When Ballet David Campos of Barcelona performs at the Cultural Center of the Philippines on March 22-25, it will not just be a dazzling interpretation of two ballet favorites, it will be a celebration of excellence of both Filipino and Spanish artists who will be headlining the performances of “Giselle” and “The Sleeping Beauty.”
The American contemporary ballet company Trey McIntyre Project (TMP) has conducted master classes in ballet, modern dance and technical direction in Manila and Iloilo City, including interactions with the Ramon Obusan Folkloric Dance Troupe.
A Filipina international ballet star is born. She is Candice Adea, principal dancer of Ballet Philippines, who brought pride to our country not once, but many times over, most recently on June 7, when she bested 69 ballerinas from all over the world to win first place in the elite Helsinki International Ballet Competition (HIBC).
In Ballet Philippines’ 43rd- season opener “Dragon Song,” artistic director Paul Morales could not have chosen a better mix than this repertoire of modern, neoclassical, neo-ethnic and a dash of neoclassical kundiman charm, each showcasing the choreographers’ respective fortes.
What goes up must come down. In this case, we’re not talking about life or karma. We’re talking about heels. If there’s a part of the woman’s body that’s been much abused in the 21st century—other than her pocket (a necessary extension of the woman’s body, by the way)—it must be her feet. They’re abused and punished not from too much walking or exertion, but from wearing stratospheric high heels. Seven inches, eight? Today’s shoes, like we said, have become the new millennium’s torture instruments.
Ballet Philippines stages “Anting” for its “Neo-Filipino” series this September. The series features new works by Filipino choreographers and allows them a venue to tackle issues and experiment with form and choreography.
