Dancing in the light

Presumably, Dancing in the Light, which was shown at the Onstage Theater, was the outcome of a consortium of ideas, having been a multimedia presentation with a long list of collaborators behind it.

Its principal figure, of course, was dancer Marge Enriquez who interpreted the collective concept to which she, herself, must surely have given a share. The array of talents for the 40-minute show consisted of thespian-actor Bart Guingona, director; Douglas Nierras, choreographer; Noel Zarate and Ian Monsod, music; Dadi Janki, text; Oddie Espiritu, video; Jay Aranda, lighting.

Ernest Santiago as production designer integrated the contributions of the foregoing individuals – with Marge dancing in Joe Salazar’s costumes under Impy Pilapil’s exquisite, abstract sculptured pieces dangling from above. As Marge danced, she recited "homilies" taken from Dadi Janki and his book Companion of God, homilies on inspiration, mistakes, courage, quality of thoughts, integrity, contentment, patience, respect, leadership, tolerance and peace. Dandi’s gems of wisdom reflect age-old Oriental philosophy which, not being pegged to any specific religion, has universal appeal.

Marge performed while speaking the profoundly meaningful lines which caused the onlooker to delve into himself and discover how the pithy moral exhortations could apply to him. Watching intently, he admires Marge’s slim, lithe and limber figure – ideal for a dancer – as also her style of dancing. Not outlandishly modern, it is graceful and appears to have Oriental (Hindu) influence. Quite apart from the choreography she interprets, the style is distinctively her own.

Indeed, it has always been that ever since I saw her dance three years ago.

The brilliant video work heightened the visual effect onstage; sometimes, two or three images of Marge would appear on the screen eye-catching devices sustained audience interest; further, the ambiance created by the video taken outdoors provided a contrast to that provided by Marge dancing indoors (onstage). There were several other innovations and startling as this.

But the dancing was always vintage Marge: Nierras obviously realized her individual vocabulary of movement, thus judiciously adjusting his compelling choreography to it. As Marge spoke one inevitably observed how clearly she articulated the text in her valid attempt to keep the focus on her words as much as on her movement.

However, there was a problem inherent in the very fusion of dance and speech. Whenever the audience focused on the former to enjoy Marge’s smooth, flowing movement, it tended momentarily to lose track of the textual message; and when it focused on the meaning of the brief lines, these deflected attention from the dancing.

At any rate, the audience focused alternately on the verbal and the visceral while experiencing both elements within a larger framework of a most original and creative collaboration.