Allegoria Stanza: Exhilarating collage/ PS to Theater Congress

"The human body has a very wide spectrum of possibilities of expression," observes classical choreographer John Cranko, and what he says generally applies to any other kind of dance. Choreographer Abou Lagraa of La Barkada Dance Company, in its French Spring performance at the CCP main theater, explores the possibilities of each dancer to the utmost for his Allegoria Stanza.

Interpreted by 11 dancers, the extended composition is a collage of modern dance, hip-hop (street dancing), acrobatics, even mime, and always and inescapably, borrowings from the vocabulary of ballet. It has no narrative or characterization, and though it does away with development, it invites contemplation.

The eclectic mix is executed by strong, virile, athletic male dancers and lithe, nimble female ones, versatility being the common denominator. The male dancers do hip-hop, ballet and acrobatics, tour jetes as well as cartwheels with no obvious effort. Often, they appear rubber like, as though they had no joints.

Allegoria Stanza opens with dancers, costumed in orange tops and pants, moving in silence. Electronic music is latter heard, and for a long while, it sounds like Middle Eastern ethnic music of Jewish origin. To pounding, deafening percussive rhythms, movement becomes increasingly vigorous. The dancers come in two’s, three’s – the number continuously changes to continuously changing auditory effects.

A huge screen suddenly projects turbulent waters in front of which the human figures turn, whirl, gyrate, leap, their shadows on the screen often elongated to gigantic proportions to heighten the dramatic pungency of the dancing.

In the allegory, man struggles against the raging elements, with nature seemingly overpowering him. But he survives. Soloists and groups incessantly come and go, the auditory contrasts deepening the visceral sensation their movement produces.

The churning waves grow calm below a clear, azure sky, and movement becomes slow and languid.

There are a few anti-climaxes during which the audience starts to applaud, believing the concert has come to an end. And when it does end, a lone figure is seen sinuously slithering onstage.

On occasions, interest rather palls owing to the repetitiveness. But on the whole, Allegoria Stanza stands out as a fascinating kaleidoscope of movement, of myriad images in criss-crossing dance styles, the combination exhilaratingly, and excitingly exploratory and eclectic.

The first number "sigh" by Myra Beltran and Paul Morales is a modern dance with touches – again – of ballet. The duo initially perform without accompanying sound, and later, to music by Arvo Part. Movements are taut and highly controlled.

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The following letter from Cecile Guidote Alvarez, NCCA executive director who initiated the holding of the 31st World Theater Congress in the Philippines, acknowledges the help behind the scenes.

Dear Miss Orosa:

Your column has been a bearer of good tidings of the 31st UNESCO ITI Congress. Thank you so much for your support that sustains the Philippine ITI Execom amidst obstruction, intrigue and black propaganda. The sometimes disheartening and unfortunate crab mentality culture could have overwhelmed us, if not for the faith of people in the cause and the cooperation of artists and patrons of good will.

Pope John Paul II was our Patron St. for this event and he certainly intervened with our Lady of Fatima for the spectacular success that brought honor to the Philippines. In the end, love of country prevailed. The Administrative Order of President Gloria Macapagal-Arroyo was a catalyst which officially charged NCCA with DepEd supervision for the inter-agency task force. The UNESCO General Conference unanimously affirming the hosting of the Philippines with the presence of Director General Matsuura himself as our guiding light.

Thank you so much for acknowledging members of our team: Malou Jacob, Isagani Cruz, Nick Lizaso, Frank Rivera, Nestor Jardin. May I just add that among those who were also crucial to our collective operations were – Nellie Valdez of DZRH Radyo Balintataw, Ting De Los Reyes of DOT, Asec. Dante Lantin of DOTC, former UNESCO Ambassador Hector Villaroel, Bel Cunanan for media outreach, Joey Lina of Manila Hotel, Tikoy Aguiluz for the film workshop, Gigi Velarde David for dance coordination, Fidel Sarmiento and his AAP volunteers. My secretariat staff: Mabel Lynne Quito, Rose Mercurio, Resi Mariñas, Albert Banico, Susan Claudio, Hex Alvarez, Ogie Fermo, Ed Robles, Judith Roxas, Enrico Toledo and Willy Maglente who liaised with the UNACOM staff of Ambassador Preciosa Soliven and protocol office of DFA Secretary Alberto Romulo and the staff of Sec. Cerge Remonde, PNP for security and the office of Mayor Lito Atienza and House Speaker Jose de Venecia.

Allow me to thank also Dr. Ben Goquingco for kindly reprising the choreography of his mother, National Artist Leonor Orosa Goquingco, and our production staff who volunteered their talents in realizing "Something to Crow About" of National Artist for Literature, Dr. Alejandro R. Roces, like Len Santos (sets), Joey Nombres (lights) and especially the Conservatory of Music of UST headed by Dean Raul Sunico.

Countless other volunteers and patrons, especially our local government partners in 11 regions and the League of Municipalities, made the pioneering concept of Theatre for All the longest mural for the MDG’s a reality modeled by the Philippines. The METI and Jethro of Japan worked with Sec. Remonde’s office to help the 2nd Experts and Ministerial Meet in Media Content.

We share the applause with all and to the media leaders our gratitude for their generous coverage so that the historic event was recorded and noted for posterity.