from the rubbles of WW II and freed from American domination, the Filipinos
surged in creativity. The '50 and '60s saw dance revival and choreographic
put up folk dance troupes like the Far Eastern University, Philippine Normal
University (Barangay Folk Dance Troupe) and Philippine Women's University.
The Bayanihan Philippine Dance Company captivated the world at Brussels
Exposition in 1958. Leonor Orosa Goquingco's Filipinescas Dance Company,
Teresita Pil's Leyte Kalipayan Dance Company, University of the Philippines
Filipiniana Dance Group, Darangan Cultural Troupe at Mindanao State
University-Marawi, and Ramon Obusan Folkloric Group followed to win their
own awards and accolades abroad. All at first capitalized on the efforts of
now-declared National Artist, Francisca Reyes Aquino, to gain national and
international recognition, from Manila to Broadway and across the Iron
ballet, Orosa Goquingco went to stage Noli Dance Suit
and other ballets. Remedios de Oteyza's abstract ballets were performed by
the De Oteyza Ballet, Manila Ballet Company and Hariraya Ballet Company
(founded with Inday Gaston Manosa). Rosalia Merino Santos staged and
lectured with the Far Eastern University Modern Experimental Dance Group.
Anita Kane toured nationwide with classical and Filipino ballets of hers
called Anita Kane Ballet Company, later Pamana Ballet. Joining them was
Ricardo Cassell from America, first teaching for Pacita Madrigal (staging
Giselle for her and Benny Villanueva Reyes) and
later his wife Roberta's school and Studio Dance Group. Trudl Dubsky Zipper
periodically returned from the United States to stage ballets and operas.
inspired a new group of dance-makers and leaders. Corazon Generoso Iņigo
staged folk dances and choreographed modern pieces for university groups,
for the films and the productions of J. Amado Araneta in Cubao, Quezon City.
Maribel Aboitiz and Eddie Elejar followed up the fame of Manolo Rosado and
Fely Franquelli in Europe. With Joji Felix and Cesar Mendoza, Elejar set up
a school at PWU. He and Julie Borromeo and Felicitas "Tita" Layag Radaic
later formed Dance Theater Philippines as the first professional company,
along with the Hariraya. DTP was later solely directed by Radaic or Basilio
(Steve Villaruz), carrying on Ballet at the (Rizal) Park for more than 12
years and producing ballerinas Anna Villadolid, Lisa Macuja and Eloisa
Enerio. Still later, the Dance Concert Company of Vella Damian and Eric
Cruz, and Manila Metropolis Ballet of Elejar and Toby Fabella served the
widening audience for ballet. This was also met by visiting companies from
Asia, Australia, the United States, Britain, Europe and Russia.
opening of Meralco Theater and the Cultural Center of the Philippines, still
later of the restored Manila Metropolitan, U.P. and Camp Aguinaldo Theaters,
choreographic ambitions were no better served than in the old Far Eastern
University, Philamlife and Girls Scouts of the Philippines auditorium, and
the defunct Rizal Theater.
as a private group called Alice Reyes and Modern Dance Company, Ballet
Philippines had the advantage as resident dancers of the CCP. Reyes
(starting with Elejar as co-director) built a modern repertoire with her
Amada, Itim Asu,
Rama Hari, Carmen,
choreographers Elejar, Fabella, Gener Caringal and Norman Walker, and the
ballet classics with foreigners, especially William Morgan and the Russians.
Subsequent directors were Edna Vida, Denisa Reyes, Agnes Locsin--all
choreographers in their own right, and now Cecile Sicangco. In 1987, CCP
accommodated Philippine Ballet Theater who came under the directorship of
Manosa, Borromeo, Elejar and now Caringal. The Company's strength had been
its wide choice of local choreographers. In 1966, a splinter group from PBT
formed Ballet Manila with Cruz and Macuja as directors. It espouses Russian
style, although it has lately acquired works from David Campos, Vida,
Fabella, Nonoy Froilan and Osias Barroso. All these companies have won
merits in performances abroad. They have toured nationwide, following the
pioneering work of Kane and of Fe Sala Villarica in the Visayas.
idiom of jazz, Douglas Nierras and his Powerdance are the most prominent,
following the groups Hotlegs, of Julie Borromeo, Metropolitan Dance Theater,
etc. The new groups are Whiplash and several others dancing for television.
They have graced the shows of Vilma Santos, Nora Aunor and Sharon Cuneta,
following up those of Pilita Corrales, Nida Blanca and Nestor de Villa in
their time. Television has also provided exposure for the popularization of
ballroom dancing, earlier served by Dance Time with Chito (Feliciano) and
the Penthouse editions. The Dance Sports Council has also helped standardize
dance competitions and dance instructions. The Old and new dance forms are
the boogie-woogie, rock 'n roll, mashed potato, twist, boogaloo, bossa nova,
frug, pachanga, watusi, hustle, lambada, swing, hip-hop and the free-for-all
education, physical education departments continue to teach dance (mostly
folk) from the grade school to college level. Dance degree programs are
offered at University of the Philippines and De la Salle University. In
addition to the workshops of the Dance Committee of the National Commission
for Culture and the Arts, the Philippine Folk Dance Society, Dance Educators
Associations of the Philippines and Francisca Reyes Aquino Memorial
Foundation also offer annual workshops.
the leisure time Filipinos can be found dancing more. This include the
battalas (choreographed skirmishes) in the
moro-moro or comedia that still
exist, and in many festivals around the country like the sinulog,
sayaw sa Obando, turumba
in Pakil, etc. These may be found on the streets, the stage or the shopping