Dance Highlights in Iloilo for National Arts Month: National Artist for Dance Agnes Locsin and Ballet Manila’s ‘Ibong Adarna’

By Vic Salas

Ilonggo dance enthusiasts had a rare treat last October during the Iloilo Arts Festival. First, on Oct. 17, National Artist for Dance Agnes Locsin, a Davaoeña, opened an exhibition of her works at the Iloilo Museum of Contemporary Art (ILOMOCA) and gave a workshop and an artist’s talk. Then, barely a week later, a full-length, all-Filipino ballet, “Ibong Adarna” (The Adarna Bird), was staged by Ballet Manila.

National Artist for Dance and works on exhibit at ILOMOCA

In 2022, Locsin received the highest national recognition for her significant contributions to the development of Philippine arts, particularly dance. The citation recognizes her outstanding contributions as a choreographer, director and teacher, utilizing Filipino rituals and traditions and blending these with Western techniques in a style she called “neo-ethnic.” This term has since entered the Filipino dance lexicon. Over the past five decades, only six National Artists for Dance have been named, and Agnes is one of them. A book she authored, “Philippine Neo-Ethnic Choreography: A Creative Process,” published by the University of Santo Tomas in 2012, was a finalist for the Alfonso T. Ongpin Prize for Best Book on Art at the 32nd National Book Awards. Agnes was also the director of Ballet Philippines and Ballet Philippines II, dance companies associated with the Cultural Center of the Philippines, for about a decade. The exhibition at ILOMOCA’s second-floor gallery consists of archival photographs and posters, costumes, and multimedia presentations tracing her distinguished career and contributions to Philippine dance. Several of her choreographed pieces have won international awards, and Agnes has also choreographed works based on Ilonggo epics and tales, such as “Hinilawod” and “Labaw Donggon,” collaborating with local groups such as the Dagyaw Dance Company of Iloilo National High School (INHS) and Teatro Amakan of the University of the Philippines Visayas (UPV).

Agnes also generously shared her neo-ethnic choreography skills in a three-day workshop with various choreographers from the selected tribes for the upcoming 2027 Dinagyang Festival. Shall we expect a different spectacle in three months, perhaps less of the carnivalesque Mardi Gras whooping and more Filipino-inspired, graceful movements?

Ibong Adarna takes flight, dazzles audiences

On Oct. 23, at the Rose Memorial Auditorium of Central Philippine University, Ballet Manila, led by its artistic director, prima ballerina Lisa Macuja-Elizalde, presented “Ibong Adarna.” This full-length ballet is based on a Spanish colonial-era Philippine epic poem about a royal family, a kingdom, warring princes and a multicolored mythical bird with healing powers. The ballet is an adaptation by choreographer Gerardo (“Geri”) Francisco Jr., a Ten Outstanding Young Men (TOYM) awardee for his work in the arts and humanities, who also happens to be Ilonggo. Geri’s dancing and choreographic skills were honed at Iloilo National High School (INHS).

“Ibong Adarna” was staged in partnership with Sayaw PD, Dance for Parkinson’s, the Iloilo City Government, and SM City Iloilo, with two performances at 11 a.m. and 4 p.m. on Oct. 23.

From start to finish, the troupe’s impeccable discipline, vigorous and precise dancing, and colorful array of costumes and characters dazzled the audience. The effective use of contemporary technology, including laser screens, computer-generated backdrops, explanatory dialogue and text, left the audience wanting more. Earlier, Macuja-Elizalde also demonstrated several ballet movements and what they meant, from simple gestures such as “yes,” “no,” “come,” “flight” and “fight,” thus engaging the audience and allowing Ilonggos to gain a deeper understanding of classical ballet movements recognized by dance audiences worldwide. The ticket purchase also entitled the bearer to another dance presentation, “Lubid,” by Sayaw for Parkinson’s Disease, scheduled for Nov. 11.

An Ilongga ballerina who became a National Ballet of Canada soloist

Unknown to many, though, an Ilongga ballerina has performed with both Ballet Manila and in Locsin-choreographed pieces while at Ballet Philippines. In the poster announcing Locsin’s talk at ILOMOCA, she appears as the soloist in an Igorot costume (see photo below), in a pose that portrays not just strength and grace but also power and agility. The soloist, Je-An Salas Leavens, was born and raised in Iloilo, the daughter of Engr. Antonio Salas (the author’s cousin) and Dr. Jessica Calfoforo-Salas, a development worker and executive director of the nongovernmental organization Kahublangan sang Pilipino Foundation Inc. (KSPFI). Now in its 50th year, KSPFI is internationally known for its work with street children and, later, water resources management.

Je-An first took ballet lessons in Iloilo City under Rosita Dureza and won a scholarship to the Philippine High School for the Arts, eventually graduating as an outstanding student in dance in 1987. She then continued with Ballet Philippines until 1990, when she moved to Canada to further her ballet training. She joined the National Ballet of Canada in 1994 and was promoted to soloist in 2001, a remarkable achievement for a Filipina dancer. During her years with the National Ballet of Canada, Je-An appeared in dozens of performances in the United States, Canada and Guatemala. She also choreographed pieces for the company and other ballet companies. Unusually for an active professional ballerina, she gave birth to her daughter, Monica, while performing with the company.

In 2004, during a rare Philippine visit, Je-An was a guest soloist with Ballet Manila at a benefit performance for the watershed programs of KSPFI, hosted by the Canadian Embassy. She danced the White Swan Pas de Deux from “Swan Lake” and “Désir,” both choreographed by James Kudelka of the National Ballet of Canada. (The photo below is from the National Ballet of Canada’s Spanish Dance, part of “The Nutcracker,” which the company has performed for more than 70 years.)

Shifting gears as she approached her late 30s, Je-An began taking formal Pilates instructor training in 2008. She established her own practice and became the resident Pilates teacher at the National Ballet of Canada, a position she continues to hold.

For more information about Je-An’s career, visit the National Ballet of Canada’s Facebook feature. (https://www.facebook.com/nationalballet/photos/wherearetheynow-je-an-salas-joined-the-national-ballet-in-1994-and-retired-from-/10152201995597143/)