Banyuhay: Katutubong Sayaw sa Makabagong Pananaw Playbill

For corporate sponsorship, invitational performances and other inquiries, please contact

Fred Arnold Gregorio (President): 0906 4534907

Prof. Naomi Enriquez (Coach): 0927 2900277

Or visit our Facebook fanpage at facebook.com/uplbfilipiniana.dancetroupe

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BanyuhayBanyuhay Katutubong Sayaw sa Makabagong Pananaw

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Department of Human Kinetics

UPLB Performing Artists Development Fund Project

In line with the celebration of the

102nd Foundation Day of UPLB

BanyuhayBanyuhayBanyuhay March 13-14, 2011 4:00 and 7:00 pm

Baker Memorial Hall University of the Philippines Los Baños

UPLB Filipiniana Dance Troupe

presents

KATUTUBONG SAYAW SA MAKABAGONG PANANAW

OFFICE OF THE CHANCELLOR

Congratulations to the UPLB Filipiniana Dance Troupe for the produc-

tion of “Banyuhay: Katutubong Sayaw sa Makabagong Pananaw.”

Literature tells us that dance interweaves with other aspects of human

life thus, each individual may view dance differently. To some, it is

simply an artistic expression, others see it as mere movements in re-

sponse to music, but to others it can be a matter of social, economic,

or psychological importance.

The members of the UPLB Filipiniana Dance Troupe will take the cen-

ter stage, once again, to showcase folkdance as a form of entertain-

ment while promoting our culture. This time, their performance is liter-

ally on the center stage as it is set on a circular formation to give a

greater impact to the viewers. Surely, an extraordinary surprise is wait-

ing for our audience. I hope that after this performance, we will contin-

ue experimenting how we can best raise the interest of the UPLB com-

munity on culture and the arts.

As this performance is in celebration of UPLB’s 102nd Foundation Day,

I wish to underscore the essence of your being in UPLB—as individu-

als, as students, and as a group. You are here for a purpose and what-

ever role you play, be relevant and leave a legacy. Just as our beloved

University, it passed on to us its tradition of service, leadership, and

excellence.

Luis Rey I. Velasco

Chancellor, University of the Philippines Los Baños

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PADAYON! mula sa

UP Rural High School Filipiniana Dance Troupe

Compliments from the

UP Filipiniana Dance Group


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Compliments from

Dr. Cleofe Torres Dean, College of

Development Communication

Compliments from

Dr. Arsenio Resurreccion

Dean, College of

Engineering and Agro-Industrial

Technology

Compliments from

1974

UP Horticultural Society

“Horticulture for the People”

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OFFICE OF THE VICE CHANCELLOR FOR INSTRUCTION

I would like to laud the efforts of the UPLB Filipiniana Dance Troupe in

keeping our culture of dances alive, reinventing step designs and rou-

tines to provide not only entertainment but eye openers to our tradi-

tion.

UPLB needs these types of activities to balance the academic environ-

ment and harmonize its constituents.

It is my hope that our audience will find inspiration in the fruits of your

hard work and may you continue to uphold our dance traditions for

the generations to come.

Best wishes to everyone!

Rita P. Laude

Director, UPLB Performing Artists Development Fund Project

OFFICE OF THE DEAN

COLLEGE OF ARTS AND SCIENCES

My warmest congratulations to the UPLB Filipiniana Dance Troupe on

its latest project BANYUHAY: Katutubong Sayaw sa Makabagong

Pananaw. Like its previous performances of Filipiniana, BANYUHAY is a

demonstration of the creativity and innovation that have earned ap-

plause and recognition from its audiences, locally and abroad. This

time, its innovation goes beyond a new approach to style or choreog-

raphy, but involves redefining the dimensions of the stage through

immediate proximity of performance to the audience, heightening the

sense of participation and involvement in the performance. It is true to

its name, an updating of Philippine dance and culture, to the con-

sciousness of this new decade of the 21st century.

My best wishes on your newest presentation, along with hopes for

your continued promotion of Philippine culture, enrichment of the

UPLB cultural scene, and service to the community through produc-

tions which highlight the talent and creativity of the people behind

the UPLB Filipiniana Dance Troupe. This has been an objective since

the beginning of my term, for CAS to contribute to the university and

the community by emphasizing the strengths of its various units,

which traverse the humanities and the sciences.

Asuncion K. Raymundo

Dean, College of Arts and Sciences

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Compliments from the Department of Human Kinetics

College of Arts and Sciences

University of the Philippines Los Baños Prof. Merites M. Buot

Chair

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Congratulations to

Luis Gabriel Catalan From Mr. and Mrs.

Genaro Catalan


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Compliments from

Philippine High School for the Arts

and Sanghiyas Pangkat

Mananayaw


Compliments from

Shapers Family Shop and Family Gym

10518 Grove St., Los Baños, Laguna 4031 Tel Nos.: 827-3690 / 0917-8653169

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DEPARTMENT OF HUMAN KINETICS

My sincerest applauses to the UPLB Filipiniana Dance Troupe for their

upcoming event Banyuhay: Katutubong Sayaw sa Makabagong

Pananaw, another breathtaking production from the resident folk

dance troupe of the Department of Human Kinetics, College of Arts

and Sciences.

Once again, the troupe will be featuring folk dances as part of their

promotion of our culture. This time, a higher emphasis on the link be-

tween the audience and the performer is to be expected as the per-

formers will approach the inner state of the audience with the fusion

of folk dance and contemporary movements. On the other hand, the

audience will approach the performers via the destruction of the barri-

er between the two. These two ideas revolve on the repertoire of the

production, producing a very magnificent collaboration of historic

culture and modern concepts.

I am always with the troupe in terms of their boundless mission in us-

ing dance in promoting socio-cultural awareness. Let the flame of com-

mitment continue burning as you awake and inspire the Filipinos with

our great culture.

Merites M. Buot

Chair, Department of Human Kinetics

DEPARTMENT OF HUMANITIES

DIVISION OF VISUAL ARTS AND MUSIC

Being the resident folk dance troupe of the Department of Human

Kinetics, College of Arts and Sciences and recently, the official dance

troupe of the UPLB Performing Artists Development Project, the

troupe deserves to be commended for all your efforts to bring back to

life the dying tradition of folk dance via their talents. The members of

the troupe have shared themselves willingly and selflessly to accom-

plish excellence, service, and leadership in the field of arts. They have

performed not only in the UPLB and nearby communities but also in

international center stage.

I wish you well on your upcoming concert, BANYUHAY: Katutubong

Sayaw sa Makabagong Pananaw this March 13 and 14, 2011. As a per-

forming group, a concert is a necessity to share your art with an audi-

ence. Hours of training and choreography need to be expressed on a

stage to make it all worthwhile. You have gone through all sorts of ups

and downs during the making of this production, but believe me, once

you’ve finished one show, you’ll keep on finding ways to present it

again.

I hope that you artists would never tire of your immense responsibility

to portray the dreams, aspirations, defeats and triumphs of the Filipino

people. May you continue to bring pride not only to the university but

also to our country as you share you love and passion for nurturing the

culture that for once has been lost and has been disregarded.

Congratulations to the UPLB Filipiniana Dance Troupe!

Maria Teresa DV. Arejola

Head, Division of Visual Arts and Music, Department of Humanities

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Compliments from


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CONGRATULATIONS! from the

Office of the Chancellor

Luis Rey I. Velasco Chancellor

Katutubong Sayaw sa Makabagong Pananaw

Through the years that I have been handling the UPLB Filipiniana

Dance Troupe, I have seen students come and go and production con-

cepts transform into performances and mark on the life of the audi-

ences. I have seen them evolve together with the modernization of

the society and yet I have never got tired of being surprised on how

these students come up fresh with a unique idea every time.

Coming from a long line of dance productions aiming beyond enter-

tainment, the UPLB Filipiniana Dance Troupe is back with yet another

evocative performance art entitled BANYUHAY: Katutubong Sayaw sa

Makabagong Pananaw. BANYUHAY with its meaning “Bagong Anyo ng

Buhay” will set out as an eye-opener that will tear down the bounda-

ries of the stage making the performance intimate. I strongly believe

that this production will forever be a legacy of the UPLB Filipiniana

Dance Troupe. I admire the courage of these young artists to go be-

yond the ordinary set by the norm. The passion that I see in them

should inspire the other members of the youth to move out of their

comfort zones and do their part in the preservation of the Filipino cul-

ture.

I congratulate the members of the UPLB Filipiniana Dance Troupe for

their endless efforts in bringing our culture back to its people thus

truly giving them a new form of life. Mabuhay Kayo!

Naomi M. Enriquez

Adviser, UPLB Filipiniana Dance Troupe

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The fast pace of the modern times has been revolutionizing various aspects of the society. Innova-tions and science and technology are incessantly altering people’s beliefs and lifestyles. Old traditions of the Filipino music and arts have been needlessly pushed towards the back stage. As the Filipino people set out through the world and become significantly influenced by diverse cultures and tradi-tions, there arises the need for enlivening the Filipino identity. The UPLB Filipiniana Dance Troupe is the resident folk dance troupe of the Department of Human Kinetics, College of Arts and Sciences, University of the Philippines Los Baños. This year, the troupe has also been recognized as a member of the UPLB Performing Artists Development Fund Project. Consisting of students from various colleges, the troupe aims to master, preserve, enrich and pro-mote Filipino culture through the study of various Philippine Folk Dances. It has shown a number of well-applauded performances choreographed with passion and excellence locally and internationally as well. To name such, the troupe has had Historia Filipiniana: Kahubdan ng Kulturang Filipino in March 2006; Hugnay: Katutubong Sayaw, Modernistang Galaw in March and July 2008; and the recent Iskolar para sa Bayan: Isandaang Taong Lakbay-Sayaw in October 2009. It has also joined the Cultural Center of the Philippines’ Sari-saring Sayaw, Sama-samang Galaw in February 2005 as the official dance troupe representing the university along with the nation’s leading folk dance companies, and has been the Ambassadors of Culture to the Japan-Philippine Friendship Week held in Yokohama and Tokyo, Japan in June of the same year. The troupe takes pride in being able to provide the university with quality performances through their continued passion for the Filipino culture and the arts.

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sa limot ay ‘di mababaon. BanyuhayBanyuhay

Rumi, a Persian Poet wrote: life is like being sent by a king to another country in order to carry out a particular task. For Prof. Naomi Enriquez, she need not be sent by a king to choreograph; rather she does things with her heart. No doubt she had lots of achievements and continuously does. Prof Naomi, Ma’am Nôh as the troupe calls her, graduated with a degree of Bachelor of Science in Nursing in UP Diliman. She was a member of Corps of Sponsors from 1972 to 1973 and later on became the Matron of Sponsors from 1998 to 2000. She started teaching at the Department of Physical Education (now Department of Human Kinetics) in 1980 and became coach of the UPLB Filipiniana Dance Troupe in the same year. As a dancer, chore-ographer, and coach, she did not focus only on traditional Philippines. She became a member of the Board of the Dance Sport Council in the Philip-pines from 1996 to 2005. With all her achievements and attitude towards work, the troupe viewed her not only as a choreog-rapher and coach but as a friend and a mother as well. She shares her talent with the dancers and helps each of them to be the best they can be. She is concerned not only with the dancer’s posture and style but also in the way they work socially and academically. Ma’am Nôh is not sent by a king but rather by her heart. With her, we learned that a dancer cannot dancer if he/she only uses the brain to execute the movements; the real dancer is the one who mas-ters the dance with the brain and performs the movement with the heart.

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BATCH YVATAN Fred Arnold Morillo Gregorio BS Agriculture ’07, Major in Horticulture, Specializing in Landscape Horticulture, College of Agriculture Being a Filipiniana member isn’t just about performing, dancing in front of the crowd, claps, and standing ovations. It is about pursuing your passion towards nation building.

BATCH TAUSUG

Aiza Gay Lapurga Corpuz BS Chemical Engineering ’07, Major in Sugar Technology,

College of Engineering and Agro-Industrial Technology

Being a Filipiniana member is parallel to the metamorphosis of a butterfly. Freshly out from a cocoon, the butterfly is introduced to a new environment

wherein capabilities are honed. As time runs, the continuing rapid extensions of knowledge learned creates a firm mastery and later dictates phenomenal suc-cess. And to show exquisite, butterflies flip their fiery wings with fires in their

eye which leaves a special touch to people‘s heart. Henry James Cagnayo Negrite BS Civil Engineering ’07, College of Engineering and Agro-Industrial Technology Being a Filipiniana member is being a voguish cultural advocate, an offspring not of different breeds but of diverse Filipino culture of high fashion. Being in Fili-piniana made me realize the need to prevent the decadence of our culture and to protect the tenacity of our ferocious and unique values and tradition by con-stantly outdoing ourselves through Philippine folk dances.

BATCH WARAY

Danah Marie Pil Purificacion BS Biology ’07, Major in Wildlife Biology,


Being a Filipiniana member is being a true Filipina.

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Special thanks to

Mr. and Mrs. Arnel Espiritu

Mr. and Mrs. Claude Gonzaga Mr. and Dra. Manuel de Vera Mr. and Mrs. Antonio Caleon

Mr. and Mrs. Rolando Alejandro Mr. and Mrs. Benjamin Lorizo

Mr. and Mrs. Florencio Bandojo Engr. And Mrs. Irineo R. Purificacion, Jr.

Jaemie Rose Ivy Limbo Rochelle Ramos

Ma. Liz Antonette Dacalan Cassandra Soltura

Prof. Aleli Domingo Mayor Felipe Marquez

Hazel Medrano Ivy Grace Pait

Nikka Melissa Anne Bola Raniel Rabina

Katrina Lara Marquez Darius Mark Zabala Jonathan Paul Vital

Philippine Baranggay Folk Dance Troupe Rondalla

Freeks’ Tailoring Environment and Industrial Biotechnology Laboratory

(BIOTECH-UPLB)

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Executive Committee Academic Year 2010 – 2011

Fred Arnold Gregorio

President

Aiza Gay Corpuz Vice President for Internal Affairs

Earl Nicholas Rada

Vice President for Artistic Affairs

Precious Sarah Añoso Secretary

Luis Gabriel Catalan

Treasurer

Mark Angelo Ordonio Auditor

Celine Bernice Roxas

Public Relations Officer

Henry James Negrite Disciplinary Committee Head

Prof. Naomi Enriquez

Coach/Adviser


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Logistics

Head: Fred Arnold Gregorio Members: Precious Sarah Añoso,

Aiza Gay Corpuz, Joseph Ronald Reyes

Publicity Head: Mark Angelo Ordonio

Members: Jerome Oliver Aligora, Trista Isobelle Gile, Henry James

Negrite, Celine Bernice Roxas

Costume Head: Shea Alpine Montaras

Member: Christine Victoria Verdadero

Props Head: Ryan Jeff Andaya

Members: Zyrine Lorizo, Jury Tabarangao

Music

Philippine Baranggay Folk Dance Troupe Rondalla, Adrian Espiritu,

Kathleen Leigh Sison

Lighting Director Roldan Lozano

Ushers

UPLB Corps of Sponsors

Marketing Head: Luis Gabriel Catalan Member: Precious Sarah Añoso, Danah Marie Purificacion, Erica Mae Reyes Choreography Head: Trista Isobelle Gile Members: Shea Alpine Montaras, Earl Nicholas Rada, Ivy Grace Pait Accessories Head: Jerish Anne Blaza Members: Glecy Piamonte Bandojo, Armie Cassandra Isabedra Set Design Louie Barrion, Wilson Burazon, Vico Chelsea Calatin, Johnmel Valerozo Front House Kristian Daeve Abiqui, Janelle Almosara, Louie Barrion, Justin Joseph David, Jorge Dominguez, Iris Kriselle Inocando Jaena Laurelli Lavarro, Ma. Reiza Lizano, Ana Victoria Margallo, Elie Odigie, Miziel Mañalac, Timothy Moises Mendoza, Narciso Panganiban III, Almira Prodon, Erica Mae Reyes, Azazehl Supan

Executive Director Prof. Naomi Enriquez

Production Manager Fred Arnold Gregorio


BATCH HANUNUO

Luis Gabriel Lajada Catalan BS Chemical Engineering ’07, College of Engineering and Agro-Industrial Technology Being a Filipiniana member is being an ambassador of Philippine culture and the arts.

Mark Angelo Apostol Ordonio BS Chemical Engineering ’07, Major in Sugar Technology,


Being a Filipiniana member allowed me to balance the scales of pangs and tangs of my student life; I became a well-rounded person not just because I utilized

my physique to bring honor to the university and to my country but I was able to concretize a character in me that goes beyond a viewer and a performer.

BATCH JAMA MAPPUN

Precious Sarah Alava Añoso BA Communication Arts ’08, Major in Speech Communication, College of Arts and Sciences Being a Filipiniana member is my catharsis. I can be an elegant colegiala, a free-spirited rural folk, a religious lad bound by rituals, and a part of the royalties of the south. It never fails to give me the best experiences of being a Filipino and a steward of our culture.

Trista Isobelle Enolva Gile BS Industrial Engineering ’09,


Being a Filipiniana member is learning how not to think only about oneself.

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BATCH CHAVACANO Ryan Jeff Arias Andaya BS Applied Mathematics ’10, College of Arts and Sciences Being a Filipiniana member is not just a simple task, simple role or a simple sub-ject to have. It is a hard responsibility that must be put into heart, must be exe-cuted with passion and full of determination. Not only that, it is also a career that one must have discipline and commitment to preserve Philippine culture.

Jerish Anne Garcia Blaza BS Forestry ‘10, College of Forestry and Natural Resources

Being a Filipiniana member is a challenge that helps me to improve my skills and talents in dancing. Being one of the members is an opportunity for me to show

and to share the talent that I have. I learn to have confidence and to socialize with different personalities and I experience to have a happy and big family. It

also gave me a chance to have a second family. Wilson Natanauan Burazon BS Mathematics ’10, College of Arts and Sciences Being a Filipiniana member is not an attempt for me to escape from academic works but rather an effort to pursue my love and passion for dancing. It serves as my vessel of all the experiences and happy moments with the troupe who shaped my character and personality.

Vico Chelsea Relieta Calatin BS Mathematics and Science Teaching ’10,


Being a Filipiniana member is tiring but fulfilling. Adrian Balag Espiritu BS Mathematics ’10, College of Arts and Sciences Being a Filipiniana member is all about promoting our culture, particularly in terms of dance, by means of showcasing artistry in movements. It is also about developing camaraderie amongst people who find dancing as a significant part of their lives and uphold their common goal- that is to uplift cultural awareness among individuals.

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RURAL-MA. CLARA SUITE Choreography by

Trista Isobelle Enolva Gile About 80% of the Filipinos are Roman Catholic – no wonder many of the dances of the lowland and Spanish-influenced people are remarkably devoted to the Al-mighty God. Solemn prayers, strong beliefs, and omnipresent customs and traditions demarcate this folk dance suite apart from

the others. Wedding, one of the most cherished among the Christian practices, always opens a chain reaction within the traditional customs and beliefs of every Filipino involved in the scene even up to now. As traditionally practiced, after the wedding, people follow the classic custom of releasing two pigeons which symbolize love and fidelity. The newly wedded couple then performs for the crowd as their rela-tives and friends show their support by pinning peso bills on their clothes. Nothing beats the fiesta of the Filipinos especially when celebrating very special occasions like weddings, birthdays, fruitful harvests, and Christmas. Ecstatic faces can be found everywhere. Food is prepared for everyone. Playful music, games and dancing never fail to be absent in the peak of the festive mood. All these joyful activities would not be made possible if it were not for the presence of the Creator. In the end, they always arrive to giving gratitude and respect by offering these gifts and themselves to Him.

PAGAN SUITE Choreography by Ivy Grace Umadhay Pait

For most pagan tribes of the south, we coexist with the spir-itual world. It is believed that every part of nature houses a remnant of those that were and of things that are unseen, good or evil. In a lot of life’s significant events, such as har-vest, birth or death, rituals of pagan tribes invoke the pres-ence of supernatural beings and the souls of their kin for guid-ance, protection and blessings. Similarly, evil spirits or unap-peased souls are said to be the cause of illnesses and misfor-tune. The pagan suite adopts movements from the dances Dugso, Malantana Tau, and Soriano to portray a cycle of spiritual en-counter which starts in a dark mysterious forest and ends with the light of healing staged using the concept of the Tagbanua’s Pandita (babaylan/priestess).

EPILOGUE Ani ng Sining, the final performance, shows that this success of transcending the barriers between Filipi-nos and folk dance is still a success for the arts. Arts, being the medium of self-expression, will still be our vessel towards our reunification with a part of our Filipino identity provided by Folk dance. This commu-nity dancing exemplifies the true essence of Folk dance because it is not by chance that Folk dance is translated as the Dance of the People.

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PROLOGUE

The dancers perform, the audience observes. The dancers curtsy, the audience applauds. Every sud-den gesture of any dancer seen on stage is affecting its viewers’ atmosphere. Rhythmic movements executed by the ‘audience’ symbolize how every observer feels when he sees a dance piece on stage, integrating himself to the ‘dancers’ as if he were part of it. This neo-folk piece, accompanied by a mu-sic composition of Project Ganymede entitled Buhawi, depicts the typical audience-performer setup

where there is the establishment of the barrier between the two main elements of a performing arts production: the stage.

CORDILLERA SUITE Choreography by Earl Nicholas Fabros Rada

The Kalinga is one of the many tribes of the Cordillera. Their rich culture made their dances to be known around the world. The ritual before going to war depicts the sharing of tapuy (rice wine) to the members of the hunting group. The women are then busy in their daily chores like fetching water from rivers and then placing the Banga (clay pots), which is also the name of the dance; on their heads as they travel along the mountainous terrain back to their community. To celebrate the good catch of the hunters, a com-munity dance is performed. Part of this dance is a courtship dance, Kinkinaton, where the head of the hunters choose a girl to be his wife. After all this, the whole community will dance Tadjok, a cañao that may last for hours or even days.

MUSLIM MINDANAO SUITE

Choreography by Shea Alpine Alviar Montaras

A Muslim is obliged to pray five times a day: once before sunrise, at noon, in the afternoon, after sun-set, and once at night. Such meditation is intended to help maintain a feeling of spiritual peace, in the face of whatever challenges work, social or family life may present. The Muslim dances here in the Philippines were mostly inspired by their daily meditation. This part showcases the collaboration of movements from various Muslim dances such as the Asik, Janggay, Pamansak, and Pangalay Ja Pattong. Enthused by the es-sence of meditation, the weightlessness of the body, the flimsiness of the arm and finger movements and the foot works are to be witnessed. Moreover, not only the technical dance steps and culture of the suite are shown, but also the distinction between the low and high social classes.

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Shea Alpine Alviar Montaras BA Communication Arts ’10, College of Arts and Sciences Being a Filipiniana member resembles the feeling of contentment after con-suming a palatable local viand. I dance here not because somebody pushed me to do so, but because it is my own instinct, id and passion--- a part of my sys-tem which satisfies and fulfills my Filipino being.

Christine Victoria Pascual Verdadero BS Applied Mathematics ’08, Major in Operations Research,


Being a Filipiniana member is one of the best parts of my life. I gained not only confidence but a family as well.

BATCH MANDAYA’T MASAKA Jerome Oliver Reyes Aligora BS Computer Science ’10, College of Arts and Sciences Being a Filipiniana member is topsy-turvy. At the beginning, too much time is devoted, too much energy is lost and other things are sacrificed. But as time goes on, l realize that these sacrifices are worthy because I know that these made up a portion of my personality. And I am very sure that being a part of the troupe will make me feel the deep essence of being a Filipino, continue to nourish my talent and hone my socialization skills.

Glecy Piamonte Bandojo

BS Agricultural Biotechnology ’10, College of Agriculture

Being a Filipiniana member is like being a part of a big family. It’s like having a second family here. The whole troupe is like a bunch of people I can consider my siblings. Every rehearsal is our

bonding moment and I will cherish every moment I spend with my Filipiniana FAMILY!

Armie Cassandra Isla Isabedra BS Agricultural Biotechnology ’10, College of Agriculture Being a Filipiniana member is being an element of the society that helps in bringing the youth closer to Filipino culture.

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http://en.wikipedia.org/wiki/Muslim

http://en.wikipedia.org/wiki/Salah

http://en.wikipedia.org/wiki/Spirituality

http://en.wikipedia.org/wiki/Tranquility

Zyrine Celis Lorizo BS Agricultural Biotechnology ’10, College of Agriculture Being a Filipiniana member means having grace under pressure, new family and a sense of responsibility. It is something to be proud of.

Joseph Ronald Matienzo Reyes BS Agribusiness Management ’10, College of Economics and Management

Being a Filipiniana member makes me feel exceptional because it taught me not just on the forms when it comes to dancing but also the importance of my own

culture showcased wholeheartedly through the use of majestic performing arts. With this, I am proud to be one .

Kathleen Leigh Enriquez Sison BS Biology ’09, College of Arts and Sciences Being a Filipiniana member is breaking the ice around me. It revives my kept passion for dancing and improves my shy, reserved personality. Through FDT, I learned how essential it is to know, recognize and preserve the heritage that was once valued by our forefathers.

Jury Corporal Tabarangao BS Food Technology ’10, College of Agriculture

Being a Filipiniana member is a step towards being ‘a someone’ from being ‘a no one.’ It is an overwhelming chance to let that Filipino blood in you fire and

light the true meaning of nationalism, reintroduce the beauty of the culture that we neglect to own, and preserve it by keeping that flame burn as eternal.

And that would be possible through FDT serving as the fuel to the lamp.

Johnmel Abrogena Valerozo BS Food Technology ’10, College of Agriculture Being a Filipiniana member is a great opportunity to share my talent and at the same time, an avenue for me to enhance my capabilities and learn new things.

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BanyuhayBanyuhay

Shea Alpine Alviar Montaras BA Communication Arts ’10, College of Arts and Sciences Born a multi-awarded performer, this girl never fails to dance her way into the spotlight. Shea used to be a theater actress before the passion for dancing came along her way. As the youngest choreog-rapher of the troupe, she was able to share the essential learning she acquired through her fruitful years of dance career at the Philip-pine High School for the Arts as a Folk Dance Major, where she achieved high honors and artistic excellence. She was one of the young representatives of the Philippines in the World Festival in Seoul, Korea last 2009 and took the duo role as narrator and one of the lead roles as the wife of Labaw Donggon--- a dance theater pro-duction. Being a former member of the Sanghiyas Pangkat Mana-nayaw, she was given gigantic opportunities including Dance Cele-bration at De La Salle University and NCCA Competition in 2010, shows at Manila Hotel, Manila Polo Club, Folk Arts Theater, Crown Plaza and much more. She has also performed in different major

productions at the Cultural Center of the Philippines such as Samu’t Saring Galaw and Pasinaya. More-over, she has also worked with the Juilliards School and School of the Arts students of New York City and Singapore, via workshops and performances held in the country. Despite seeming to be way high up in the sky, Shea's feet remain firmly planted on solid ground. She never forgets to thank and help those who have supported her in any way. Lastly, she always make time for God, someone she considers as a huge inspiration and guide.

Earl Nicholas Fabros Rada BS Civil Engineering ’07,

College of Engineering and Agro-Industrial Technology Nicko, as his nickname, is just an ordinary guy who has a very big heart for dancing. He started dancing at his elementary by taking up ballet classes. Being the only boy in his class, he became the lead role in a dance recital entitled Hansel and Gretel. He was given the opportunity to hone his talents in the Philippine High School for the Arts as a Folk Dance major. Here, he experienced different dance styles by interacting with international dancers and choreog-raphers, attending workshops from Cultural Center of the Philip-pines and other international organizations and outreach pro-grams. He also represented the Philippines in the World Dance Alliance Conference, Asia-Pacific Dance Bridge – Exploring Partner-ship in Singapore. Extending his craft to even outside the universi-ty, he ventures into teaching dances, thus giving him extra allow-ance. He is now the Vice President for Artistic Affairs of the UPLB Filipiniana Dance Troupe. As a stu-dent choreographer, he helped in staging the productions Hugnay, Iskolar para sa Bayan and this show, Banyuhay. Who would think that this ordinary guy will become a dancer, a teacher and a choreographer (he dreams to become a DANCING ENGINEER)?

ch

oreo

gra

ph

ers


BanyuhayBanyuhay

Trista Isobelle Enolva Gile BS Industrial Engineering ’09, College of Engineering and Agro-Industrial Technology Having artist as an anagram of her name, Trista had better skills in drawing and singing when she was still young and living with her family in the rich land of Sorsogon – where she first thought of folkdances as mere intermission numbers in school activities. She learned to love and appreciate dancing when she entered the Philippine High School for the Arts as a Folk Dance major. She was exposed to the different aspects of dance through four years of recitals, outreach activities, dance theory classes and all other development programs that the school can offer. Experience never fails her every time. She had performed in various places in and out of the country such as Baguio, Batangas, Camarines Sur, Laguna, Manila and even Singapore.

Being only an almost 2-year old FDT member/choreographer, she had already experienced many among the ups and downs of the troupe. In the troupe she found a family, appreciated joy and mas-tered the art of sacrifice. Last year, she became part of the FDT’s production entitled Iskolar Para sa Bayan as the youngest among the dancers and choreographers. Sayaw Karoling, a free concert last Christmas 2010 by FDT, also became a success having her as a choreographer/performer. Other than their concerts, Trista also took opportunities to present in other events like the Silver Screen Sere-nade of the UPLB Chorale Ensemble, Gandingan 2011, UPLB February Fair 2010 and 2011, Palarong UPLB 2011 Dancesport Competition, UPLB Loyalty Day 2010, and Banamos Bayle sa Kalye 2010. So far, she has already choreographed and performed diverse dance genres ranging from folk to con-temporary which up to now are well acknowledged in UPLB.

Ivy Grace Umadhay Pait

BS Chemical Engineering ’04 (Alumna), College of Engineering and Agro-Industrial Technology

Ivy Grace Pait is an active alumna and former president of the UPLB Filipiniana Dance Troupe. For “Ate Ibyang,” as she is now often called, dancing with the troupe since freshman year became both an outlet for creativity and expression, as well as cultural exploration. Among her esteemed moments in the troupe are their performanc-es in various university dance productions, in 2005’s Sari-saring Say-aw, Sama-samang galaw (Cultural Center of the Philippines), and in the Celebration of Philippine Independence and Migrant Worker’s Week 2006 (Tokyo and Yokohama, Japan). It was through dance that she reaped a lot of otherwise distant rewards such as free food, friends, fame, a little fortune and countless fun experiences. She is now a licensed chemical engineer working as a University Research Associate of the National Institute of Molecular Biology and Biotech-nology (BIOTECH), UPLB but dancing still never stops from there.

c

ho

reo

gra

ph

ers


BanyuhayBanyuhay

PHILIPPINE BARANGGAY FOLK DANCE TROUPE RONDALLA

Neil Brian Cura Damasco Arvin Jay Dompor Cura

James Patrick Benavidez Cruz Jason Ilustre Tionloc Roldan Padua Lozano

The Philippine Baranggay Folk Dance Troupe Ron-dalla forms half of the Philippine Baranggay Folk Dance Troupe’s performances. The rondalla per-formed internationally with Lahing Batangan Dance Troupe of the Lyceum of the Philippines, Batangas City, Sining Bulakenyo Pangkat Mananayaw, Malolos, Bulacan and Lahing Kayumanggi Dance Company, London, United Kingdom. The rondalla, headed by their instrumentalist Roldan Lozano also

performed the live music in Philippine Ballet theatre’s Darangen ni Bantungen of the Cultural Center of the Philippines in July 2009. Their most recent successful performance the Chanted Journeys: Discovering the Oral Traditions of the Cordillera in July 2010 together with Maestro Jesse Lucas and the University of Sto. Tomas Symphony Orchestra at the Cultural Center of the Philippines. As the Philippine Baranggay Folk Dance Troupe enters the new millennium, the rondalla continues to play for the dancers. The rondalla also caters to other requests for the ever-evolving story of the Philippines on world’s stages and carry on the spirit of cooperation, friendly association and harmo-nious living which the word “Baranggay” connotes and has become known throughout the Philip-pines and the world.

gu

est p

erfo

rm

ers

Karl Angelo Banaag Castro Junior, UP Rural High School Filipiniana Dance Troupe Being a Filipiniana member changed my perspective about folk dancing. It ex-posed me to the different wonders as well as to the challenges that folk dancing possess. In joining this prestigious organization, I accepted the various challenges that lay upon me. But despite all the hardships, the joy that this experience brings keeps me yearning for more knowledge and experience in folk dancing.

Eduardo Pontijos de Guzman, Jr.

Senior, UP Rural High School Filipiniana Dance Troupe

Being a Filipiniana member helped me build more my confidence. It gave me chances to show the audience what I love doing: dancing. As well, it urged me to

develop my skills more and express my passion for performing.


BanyuhayBanyuhay

I mag

ine

yo

urs

elf

wit

ne

ssin

g a

n a

sto

un

din

g p

erf

orm

ance

, th

en

, su

dd

en

ly r

eal

izin

g

that

yo

u’r

e a

ctu

ally

in it

– t

hat

yo

u’r

e a

par

t o

f th

at w

ho

le a

ct,

a ch

arac

ter

wai

tin

g

to t

ake

yo

ur

par

t in

th

e s

ho

w.

Ho

w

wo

uld

yo

u f

ee

l?

Th

rou

gh

th

e y

ear

s, F

ilip

ino

re

sear

che

rs h

ave

de

dic

ate

d

mu

ch o

f th

eir

tim

e u

nco

veri

ng

ce

rtai

n r

em

nan

ts o

f o

ur

fad

ing

cu

ltu

re a

nd

fin

ally

, h

avin

g s

ucc

ess

by

com

ing

up

w

ith

se

vera

l vo

lum

es

of

folk

dan

ce n

ota

tio

ns.

T

he

y e

x-

ten

de

d t

he

ir e

ffo

rts

by

stag

ing

th

ese

dan

ces

sho

wca

sed

as

a f

orm

of

en

tert

ain

me

nt,

ho

pin

g t

his

wo

uld

be

a f

ur-

the

r st

ep

in

att

ain

ing

th

eir

go

al w

hic

h i

s to

pre

serv

e a

nd

re

intr

od

uce

an

imp

ort

ant

pa

rt o

f th

e F

ilip

ino

ide

nti

ty t

hat

h

as lo

ng

be

en

tak

en

fo

r g

ran

ted

. T

his

att

em

pt

of

rep

ack

-ag

ing

fo

lk d

ance

as

en

tert

ain

me

nt

has

alr

ead

y se

rve

d i

ts

pu

rpo

se b

ut

has

als

o c

reat

ed

a c

lear

bo

un

dar

y b

etw

ee

n

the

cu

ltu

re a

nd

its

pe

op

le.

Ad

mir

ing

a h

ou

se f

rom

th

e o

uts

ide

is d

iffe

ren

t fr

om

ap

pre

ciat

-in

g i

t o

n t

he

in

sid

e.

Mu

ch l

ike

a p

erf

orm

ance

, th

e a

ud

ien

ce

take

s it

as

an a

rt a

nd

no

t as

a r

eal

ity

as it

sh

ou

ld b

e; t

hu

s cr

eat

-in

g a

ne

ed

fo

r a

diff

ere

nt

app

roa

ch.

In 2

00

8,

the

UP

LB F

ilip

ini-

ana

Dan

ce T

rou

pe

ex

ecu

ted

an

id

ea

of

me

rgin

g f

olk

dan

ces

and

mo

de

rn m

ove

me

nts

in

a p

rod

uct

ion

en

titl

ed

HU

GN

AY

: K

atu

tub

on

g S

ayaw

, Mo

de

rnis

tan

g G

alaw

. Th

is h

ad t

he

pu

rpo

se

of

inte

gra

tin

g f

olk

dan

ce i

n t

he

mo

de

rn s

oci

ety

, re

nd

eri

ng

its

re

leva

nce

to

th

e F

ilip

ino

yo

uth

.

Mo

vin

g d

ee

pe

r in

to t

he

pat

h t

ow

ard

s cu

ltu

ral

alle

viat

ion

, th

e

UP

LB F

ilip

inia

na

Dan

ce T

rou

pe

tak

es

on

th

e s

tag

e o

nce

ag

ain

w

ith

an

e

ye-o

pe

nin

g

pe

rfo

rman

ce

art

e

nti

tle

d

BA

NY

UH

AY

: K

atu

tub

on

g S

aya

w s

a M

aka

ba

go

ng

Pa

na

na

w. B

anyu

hay

, be

ing

a

po

rtm

ante

au

of

the

ph

rase

bag

on

g a

nyo

ng

bu

hay

, d

ep

icts

th

e s

mo

oth

me

tam

orp

ho

sis

fro

m a

pre

vio

us

con

cert

Hu

gn

ay.

Hu

gn

ay p

rom

ote

s th

e a

pp

roac

h o

f th

e p

erf

orm

ers

to

th

e a

ud

i-e

nce

by

the

fu

sio

n o

f fo

lk d

ance

s m

ove

me

nts

wit

h t

he

Ne

o-

folk

mo

de

rn m

ove

me

nts

, w

he

reas

in

Ban

yuh

ay,

the

au

die

nce

ap

pro

ach

es

the

pe

rfo

rme

rs v

ia d

efy

ing

th

e t

ypic

al s

tag

e s

et-

up

. T

his

pe

rfo

rman

ce w

ill e

leva

te t

he

ele

me

nts

of

cho

reo

gra

-p

hy

and

th

e s

en

sory

pe

rce

pti

on

s o

f th

e a

ud

ien

ce t

hro

ug

h t

he

red

efi

nit

ion

of

the

dim

en

sio

ns

of

the

sta

ge

. T

he

au

die

nce

will

be

at

an im

me

dia

te p

rox

imi-

ty w

ith

th

e p

erf

orm

ers

th

rou

gh

ou

t th

e w

ho

le

du

rati

on

of

the

sh

ow

. T

he

refo

re,

the

y a

re g

iv-

en

an

op

po

rtu

nit

y to

fu

lly e

xp

eri

en

ce t

he

pe

r-fo

rman

ce a

s a

real

ity.

Th

is t

ime

, fo

lk m

ove

-m

en

ts i

nsp

ire

d b

y P

hili

pp

ine

rit

ual

s a

re p

re-

sen

ted

fro

m a

mo

de

rn p

ers

pe

ctiv

e h

en

ce g

iv-

ing

th

e a

ud

ien

ce a

fre

sh t

ake

on

fo

lk d

ance

. T

he

sta

ge

is s

et

on

a c

ircu

lar

form

atio

n, t

akin

g

its

roo

ts f

rom

th

e e

lem

en

ts o

f in

dig

en

ou

s th

e-

atre

. T

he

pe

rfo

rman

ce w

ill b

e m

ore

in

tim

ate

, g

ivin

g a

gre

ate

r im

pac

t o

n t

he

au

die

nce

. T

his

p

erf

orm

ance

art

aim

s to

de

mo

lish

th

e b

ou

nd

-ar

y b

etw

ee

n t

he

pe

rfo

rman

ce a

nd

its

au

di-

en

ce

thu

s e

nti

cin

g

the

au

die

nce

to

b

elie

ve

that

th

is s

ho

uld

be

a p

art

of

the

ir r

eal

ity.

sy

no

psis

Banyuhay was conceptualized by Hazel Medrano and Luis Gabriel Catalan. Katutubong Sayaw sa Makabagong Pananaw

I mag

ine

yo

urs

elf

wit

ne

ssin

g a

n a

sto

un

din

g p

erf

orm

ance

, th

en

, su

dd

en

ly r

eal

izin

g

that

yo

u’r

e a

ctu

ally

in it

– t

hat

yo

u’r

e a

par

t o

f th

at w

ho

le a

ct,

a ch

arac

ter

wai

tin

g

to t

ake

yo

ur

par

t in

th

e s

ho

w.

Ho

w

wo

uld

yo

u f

ee

l?

Th

rou

gh

th

e y

ear

s, F

ilip

ino

re

sear

che

rs h

ave

de

dic

ate

d

mu

ch o

f th

eir

tim

e u

nco

veri

ng

ce

rtai

n r

em

nan

ts o

f o

ur

fad

ing

cu

ltu

re a

nd

fin

ally

, h

avin

g s

ucc

ess

by

com

ing

up

w

ith

se

vera

l vo

lum

es

of

folk

dan

ce n

ota

tio

ns.

T

he

y e

x-

ten

de

d t

he

ir e

ffo

rts

by

stag

ing

th

ese

dan

ces

sho

wca

sed

as

a f

orm

of

en

tert

ain

me

nt,

ho

pin

g t

his

wo

uld

be

a f

ur-

the

r st

ep

in

att

ain

ing

th

eir

go

al w

hic

h i

s to

pre

serv

e a

nd

re

intr

od

uce

an

imp

ort

ant

pa

rt o

f th

e F

ilip

ino

ide

nti

ty t

hat

h

as lo

ng

be

en

tak

en

fo

r g

ran

ted

. T

his

att

em

pt

of

rep

ack

-ag

ing

fo

lk d

ance

as

en

tert

ain

me

nt

has

alr

ead

y se

rve

d i

ts

pu

rpo

se b

ut

has

als

o c

reat

ed

a c

lear

bo

un

dar

y b

etw

ee

n

the

cu

ltu

re a

nd

its

pe

op

le.

Ad

mir

ing

a h

ou

se f

rom

th

e o

uts

ide

is d

iffe

ren

t fr

om

ap

pre

ciat

-in

g i

t o

n t

he

in

sid

e.

Mu

ch l

ike

a p

erf

orm

ance

, th

e a

ud

ien

ce

take

s it

as

an a

rt a

nd

no

t as

a r

eal

ity

as it

sh

ou

ld b

e; t

hu

s cr

eat

-in

g a

ne

ed

fo

r a

diff

ere

nt

app

roa

ch.

In 2

00

8,

the

UP

LB F

ilip

ini-

ana

Dan

ce T

rou

pe

ex

ecu

ted

an

id

ea

of

me

rgin

g f

olk

dan

ces

and

mo

de

rn m

ove

me

nts

in

a p

rod

uct

ion

en

titl

ed

HU

GN

AY

: K

atu

tub

on

g S

ayaw

, Mo

de

rnis

tan

g G

alaw

. Th

is h

ad t

he

pu

rpo

se

of

inte

gra

tin

g f

olk

dan

ce i

n t

he

mo

de

rn s

oci

ety

, re

nd

eri

ng

its

re

leva

nce

to

th

e F

ilip

ino

yo

uth

.

Mo

vin

g d

ee

pe

r in

to t

he

pat

h t

ow

ard

s cu

ltu

ral

alle

viat

ion

, th

e

UP

LB F

ilip

inia

na

Dan

ce T

rou

pe

tak

es

on

th

e s

tag

e o

nce

ag

ain

w

ith

an

e

ye-o

pe

nin

g

pe

rfo

rman

ce

art

e

nti

tle

d

BA

NY

UH

AY

: K

atu

tub

on

g S

aya

w s

a M

aka

ba

go

ng

Pa

na

na

w. B

anyu

hay

, be

ing

a

po

rtm

ante

au

of

the

ph

rase

bag

on

g a

nyo

ng

bu

hay

, d

ep

icts

th

e s

mo

oth

me

tam

orp

ho

sis

fro

m a

pre

vio

us

con

cert

Hu

gn

ay.

Hu

gn

ay p

rom

ote

s th

e a

pp

roac

h o

f th

e p

erf

orm

ers

to

th

e a

ud

i-e

nce

by

the

fu

sio

n o

f fo

lk d

ance

s m

ove

me

nts

wit

h t

he

Ne

o-

folk

mo

de

rn m

ove

me

nts

, w

he

reas

in

Ban

yuh

ay,

the

au

die

nce

ap

pro

ach

es

the

pe

rfo

rme

rs v

ia d

efy

ing

th

e t

ypic

al s

tag

e s

et-

up

. T

his

pe

rfo

rman

ce w

ill e

leva

te t

he

ele

me

nts

of

cho

reo

gra

-p

hy

and

th

e s

en

sory

pe

rce

pti

on

s o

f th

e a

ud

ien

ce t

hro

ug

h t

he

red

efi

nit

ion

of

the

dim

en

sio

ns

of

the

sta

ge

. T

he

au

die

nce

will

be

at

an im

me

dia

te p

rox

imi-

ty w

ith

th

e p

erf

orm

ers

th

rou

gh

ou

t th

e w

ho

le

du

rati

on

of

the

sh

ow

. T

he

refo

re,

the

y a

re g

iv-

en

an

op

po

rtu

nit

y to

fu

lly e

xp

eri

en

ce t

he

pe

r-fo

rman

ce a

s a

real

ity.

Th

is t

ime

, fo

lk m

ove

-m

en

ts i

nsp

ire

d b

y P

hili

pp

ine

rit

ual

s a

re p

re-

sen

ted

fro

m a

mo

de

rn p

ers

pe

ctiv

e h

en

ce g

iv-

ing

th

e a

ud

ien

ce a

fre

sh t

ake

on

fo

lk d

ance

. T

he

sta

ge

is s

et

on

a c

ircu

lar

form

atio

n, t

akin

g

its

roo

ts f

rom

th

e e

lem

en

ts o

f in

dig

en

ou

s th

e-

atre

. T

he

pe

rfo

rman

ce w

ill b

e m

ore

in

tim

ate

, g

ivin

g a

gre

ate

r im

pac

t o

n t

he

au

die

nce

. T

his

p

erf

orm

ance

art

aim

s to

de

mo

lish

th

e b

ou

nd

-ar

y b

etw

ee

n t

he

pe

rfo

rman

ce a

nd

its

au

di-

en

ce

thu

s e

nti

cin

g

the

au

die

nce

to

b

elie

ve

that

th

is s

ho

uld

be

a p

art

of

the

ir r

eal

ity.

sy

no

psis

Banyuhay was conceptualized by Hazel Medrano and Luis Gabriel Catalan. BanyuhayBanyuhay Katutubong Sayaw sa Makabagong Pananaw

Documents

Banyuhay: Katutubong Sayaw sa Makabagong Pananaw Playbill