Complete Series: 3706
Hill Auditorium, Ann Arbor, Michigan
The University Musical Society
The University of Michigan
PHILIPPINE DANCE COMPANY
Saturday Evening, November 21, 1970, at 8:30 Hill Auditorium, Ann Arbor, Michigan
Lolita Adea Judy Caldoza Enya Gabor Fatima Manuel Carmencita Santos
Orlando Bartolome Earl Janairo Ramon Obusan Antonio Sol
Erlynn Bernardez Mary Joan Fajardo Mary Anne Garcia Viveca Medrano
Reynaldo Feleo Ergardo Lualhati Ely Rogado Dennis Tan
Melannie Bernardez Fe Flores Zenaida Lopez Cristina Ocampo Mercedes Teves
Leoncio Grajo III Tomas Matias Fernando Sison III Glicerio Tecson Roberto Tongko
vocalists Miriam Odejar Roberta Topacio
Rosa Puertollano Leonilo Angos Hermogenes Geronimo Jesus Tan Cresencio Ventura Atanacio Yco, Rondalla Maestro
Third Annual Dance Series
Complete Programs 3706
Prologue: The Pledging of the Peace
In symbolic procession and ceremonial, a crowded concourse of different tribes, garbed and girt traditionally, greet one another and enact the solemn pact of peace.
Suite One: Kalinga--Of Signs and Omens
The mountaindwelling Kalingas of northern Luzon provide most of the dances in this Suite, hence give their name to it.
The idaw, a small, brown bird, is portentous with omen to the warriors who watch its move?ments for some augury reflecting on impending battle. The battle takes place, and a ritual beheading ensues.
Now the mandadawak, a high priest or sorcerer, anoints the victors, and a festive celebration
begins. The maidens enter with ceremonial knives, a reminder that they too, may lose their lives.
Divertissement. A group of young people impersonate tariktiks, or woodpeckers.
Among the celebrating maidens is one betrothed. A banga being a jar, here the womenfolk
perform a dance on the theme of waterfetching in preparation for a wedding.
With frenzied gongs and whirling figures the celebration reaches its climax.
Suite Two: Ecos de la Ermita
Like a faint echo, memories linger of the once aristocratic quarter of old Manila, la Ermita, where once a hermitage stood.
Habanera de Jovencita
A brief guitar lesson is tossed aside as a cluster of young girls flow into the cadences of habanera.
Beauty enters borne on a flowerbedecked hammock. She hands her parasol to a gallant--but
there are three other suitors!
Snatches of song sung naughtily in Chabacanoermitense (a debased form of Spanish), matched
by the accompanying sprightly steps.
Another gay number built around the coquettish use of the fan, or "paypay."
The spirited finals to the Suite. The Castilian influence marked by the use of castanets--in this
case fashioned out of bamboo.
Suite Three: Mindanao Tapestry
Although largely Christianized like the rest of the country, the sprawling island of Mindanao to the south still possesses various ethnic groups professing different faiths, among which the Muslim culture predominates.
Herein a tapestry woven out of these colorful strands.
The first six numbers are actually part of the authentic Tunlungan Festival. The last three are characteristically Maranao or Magindanao and are presented in this suite as guest entertainment in the Tuntungan.
The Sounds of Tuntungan
The Yakan rituals shown here are built around the wooden rural instruments called Tuntungan played with gongs and drums.
Agile male dancers in a dance to display masculine prowess. A striking feature is the frenetic legwork of the men.
In contrast, a feminine number--a bride and her tribal sisters.
Pa unjala y
The wedding couple, picturesquely clad and wearing masks, do a prcnuptial dance.
The Clashing Shields
Warriors dash and cavort across the stage, wielding their shields, as the entertainment in honor
of the bridal pair begins. Actually, this is a continuation of the Tumahik.
A dance for three, in imitation of the undulations of fish in water.
The malong is a garment consisting of an ample piece of cloth wrapped around the body. Here, a
group of Maranao girls go through the motions of showing the various ways of using the malong.
A girl portrays a musical doll in this dance solo distinctly evocative of its Arabian origins.
Bayanihan's celebrated dancesequence, a court dance from the province of Lanao, now a
classic in the company's repertoire. The princess wears a singkil, an anklet with tiny bells
attached. With her prince and attendants, she weaves in intricate dance patterns, their feet
nimbly darting among clashing bamboo poles.
Suite Four: Tagabili
The Tagabili's tribal beliefs suggested the theme for this dance suite. In a fit of jealousy, the ruling datu slays his brother. For this outrage, his daughter is fated to die. Departing from its usual carefree style, Bayanihan here adopts a more formal dramatic structure than heretofore, tightly pursuing the simple tragic line until the final fiery denouement.
The theme is chanted by the Narrator and the chorus of Weavers as the tale about to unfold
is solemnly woven into the cloth.
The personages of the royal house enter with the common folk. The Datu and his wives. The
princess--an only child--with her playmates.
Having fatally smitten his kin, the Datu receives the curse.
The Summoning of the Suitors
Taking recourse in his people's traditional belief that espousal will avert misfortune, the Datu
seeks a noble groom for his daughter's hand. In the assemblage that follows, the serviteurs
and vying suitors perform individual numbers typical of their regional homes.
Karal Iwas--A dance mimicking monkeys.
Crab Dance--And a crab.
Mandayan--or an eagle. This ends with a dangerous spear exhibition.
Tagabili Love Song--A poetprince chants his suit.
The Burning of the Village
All in vain. Suddenly the girl is stricken and dies. In the end catastrophe falls on the entire village.
Suite Five: Bayanihan
Because the expression bayanihan stands for mutual helpfulness, the name has been conferred on this suite, which exudes and bursts with neighborliness. The scene is any scene in the rural areas, the people such as you will find there.
The hamlet awakes to that special dawn music known as dyana, here tooted forth by the kuriti,
flute, buho and drum ensemble. The players employ bamboo musical instruments.
The Bayanihan Spirit
A house has to be transferred--lifted entirely--to a new site. At once many hands and shoulders
are offered for the task.
M agtut ubaMaglalatik
Two sequences merged into one. The first, a drinking wine, tuba being a native drink. The second refers to latik, a sweet substance derived from coconut, the dancers wearing unique harnesses made with coconut shells.
Young maids represent the billing and cooing of kalapati--doves.
A comic invention danced by an elderly couple.
The Rains of May
The villagers rush out to welcome the first showers of May, believed to have curative effects
as well as the power to hasten the blooming of young girls.
A moonlit serenade.
Pandanggo sa Haw--
Lovely as ever, the dance of lights as darkness falls over the countryside, the dancers skillfully
balancing oil lamps on their bare heads as they move to the music.
Voices lift up in song as a procession bearing an image of the Blessed Virgin enters and goes.
After this, the scene is brightened by the hanging of kipings--typical rural decorations.
The gay but precarious dance atop a narrow bench. This ends with the merry snatching for
the goodies dangling from the bitin.
The kalalong is a hollow bamboo tube struck rhythmically.
The boys are subli, (subsub and bali contracted) that is to say, bent down as they dance this,
and again we hear the clicking of bamboo castanets.
Bavanihan always crowns its evenings with the electrifying executed tinikting, named after the long legged tikling bird, which is here impersonated by alert dancers with magic feet skipping among the striking bamboos.
BAYANIHAN PHILIPPINE DANCE COMPANY Produced by the Bayanihan Folk Arts Center, Manila, Philippines
TRUSTEES: Emilio Abello, Chairman; Luis Araneta, ViceChairman; Isabel Roces, Treasurer;
Dalmacio Urtula, Jr., Secretary MEMBERS: Helena Z. Benitez, Cecile Yulo Locsin, Conchita Sunico, Conrado Benitez, Earl Carroll,
Manuel Elizalde, Manuel Montecillo, Jose J. Roy, Emmanuel Pelaez, Ernesto Rufino,
Andres Soriano, Jr.
Lucrecia R. Kasilag, Music Director and Company Director Isabel A. Santos, Assistant Company Director and Costume Director
Jose Lardizabal, Artistic Director
Lucrecia R. Urtula, Choreographer and Dance Director Purificacion O. Halili, M.D., Company Physician and Personnel Director
University Musical Society Benefit Concert
Artur Rubinstein, Pianist
Friday, January 22, at 8:30 P.M., in Hill Auditorium
George Frederick Handel
December 4 and S, 8:30; December 6, 2:30
In Hill Auditorium
The University Choral Union
Members or the Interlochen Arts Academy Orchestra Lucia Evangelista, Soprano John McCollum, Tenor
ELAINE Bonazzi, Contralto Jerome Hikes, Bass
Mary McCall Stubbins, Organist Charles Fisher, Harpsichordist
Donald Bryant, Conductor