Choreographer, dancer, director Teresa Nieto “exploited” the human body with every movement imaginable — and unimaginable, she and her three dancers — Sara Canto, Daniel Dona and Ana Santana — demonstrating incredible pliancy, superb discipline and control.
Nieto’s program, consisting of excerpts from past programs, had no storylines, but dramatic movement and eloquent facial countenance, combined, expressed profound feelings and emotions: grief, despair, joy, annoyance, ecstasy, anger — the whole gamut!
Nieto opened the concert and was later joined by the others, — all bare-footed; solos alternated with duets, trios and quartets to the accompaniment of guitar, song, percussion or total silence. The style was earthy, close-to-the-ground, with Daniel doing occasional classic tours and lifts, none of them aerial, and a few acrobatic steps.
The patterns were in constant, visually arresting flux. One is tempted to assume that there is a uniformity of style in all contemporary dances around the world because they employ the greatest freedom of movement possible, with hardly any rules prevailing. What identified one number that night as Spanish was the innovative castanet-clicking of Daniel. After indulging in fleeting flirtations with Sara and Ana, he engaged in a duet marked by the closest synchronization of movement that was absolutely riveting and magnetic.
Another number featured a seated Nieto. Forthwith, she began to dance briskly on and around the chair, twisting or contorting body, arms, legs and head in curves, angles or straight lines. How emotionally charged were her tempestuous, expansive choreography and facial expression!
The concert progressed without a pause, the numbers coming in rapid succession. The ending was strikingly spectacular, each dancer alternately coming forward to exhibit individual prowess, skill and flair swiftly, in the wink of an eye. The thunderous audience applause that ensued certainly meant a deafening “Ole!”
Ambassador Jorge Domecq, who warmly welcomed the audience prior to the concert at the RCBC theater, briefly introduced the renowned Teresa Nieto Company. The highly engrossing presentation was sponsored by the Spanish Embassy and the Instituto Cervantes. Stella Alegria of the former and Jose Ma. Fons Guardiola of the latter helped with the arrangements.
The loan of Philippine artifacts to France was part of the cultural agreement signed in the presence of President Benigno Aquino III and French Prime Minister Jean March Ayrault during the latter’s historical visit to the Philippines last October.
The artifacts, a significant part of the country’s heritage, will be on exhibit at the prestigious Quai Branly Museum in Paris from April 9 to July 14, 2013. The pioneering, first-of-its kind display, entitled “The Philippines: Archipelago of Exchanges”, will be dedicated to the Philippines in Europe.
The French embassy, headed by the personable Ambassador Gilles Garachon, jointly with the National Museum, the Manila Museum and the Ayala Museum will be hosting a press conference on the forthcoming Paris exhibit.
Stephane Martin, Branly Museum president Constance de Moribris of the same museum, and curator Corazon Alvina will be at thre press conference set for Dec. 20 at 10 am in Ayala Museum.
Brilliant Phl-German-American saxophone player Michael Young has released two CDs: 1) Scenes from My Life” with him on soprano and alto saxophone and Peter Porticos on the piano, and 2) “A Taste of M.Y. “ with Young on soprano, alto and tenor saxophone, Noel Asistoris on bass, David Starck on piano and Jay Alviar on drums.
Young’s performance last year at the Philamlife Theater was most impressive. He has Master’s and Doctoral degrees from Southern California U.