Cover "Moriones", choreographed by National Artist Agnes Locsin (Photo: Jojo Mamangun / Ballet Philippines)

We had a chance to sit down with the country's pioneer of Neo-Ethnic Filipino dance in the balcony lounge of CCP's main theatre, which was her home for fifteen years

When National Artist Agnes Locsin walked through the hallowed halls of the Cultural Centre of the Philippines (CCP) for the ceremonial tribute to the latest batch of the country's National Artists, she was coming full circle. Her uncle, National Artist for Architecture Leandro Locsin, designed and built the famed brutalist edifice and its surrounding structures to mark the country's promotion of national heritage, art, and culture more than fifty years ago. Befittingly, she had spent significant time inside the theatre as part of the performing dancers and eventually as a choreographer.

During her speech, the newly conferred National Artist for Dance shares, "I used to stand by the door when the traditional processions of National Artists occur, waving and smiling proudly when the spotlight looks at the National Artists and hits us at the side. Back then, we were kidding, sharing the spotlight with esteemed pillars of the arts. Never did it occur to me I will be also one."

Read also: National Artist Gémino Abad: "Language is the Supreme Invention of the Human Consciousness'

Tatler Asia
Above Agnes Locsin (in black shirt) during the rehearsal of "Bagobo" (Photo: Ballet Philippines)

Locsin is a choreographer, director, and teacher. She is dubbed as one of the "most progressive contemporary choreographers in the Philippines," for she distinctively utilises Filipino beliefs, rituals, and ethnic traditions in her choreographies, concepts, and direction. She beautifully merged these with her knowledge of Western dance techniques and called it "neo-ethnic". Among her successful works are Babaylan, which won second place in the Tokyo International Choreography Competition in 1993; Taong Talangka (Man-Crab); Salome, which won second place for distinguished dancer Camille Ordinario in the 1994 Concours International de la Danse in Paris, France; and narrative works like one on the life of the mythical hero Labaw Dungon in the Panay epic Hinilawod.

Born in Davao, she is the daughter of Carmen Dakudao Locsin, a famous dancer of her time and founder of the Locsin Dance Workshop. She went to Philippine Women's University to finish elementary and high school and returned to Davao to earn a bachelor's degree in English at the Ateneo. Later she moved to the United States to obtain a master's degree in dance at the Ohio State University (OSU).

She returned to the Philippines and served as the artistic director of the Locsin Dance Workshop, and became a faculty member of the University of the Philippines dance program. Later she became the artistic director of Ballet Philippines until 1999.

Read also: A Ballerina's Journey: Jemima Reyes on Why It's Not for the Faint of Heart

Tatler Asia
Above Ballet Philippines' "Encantada", choreographed by Agnes Locsin with music by Joey Ayala and libretto by Al Santos (Photo: Ballet Philippines)

"Each dance has its own process," Locsin shares with Tatler. "I'm pretty much attached to my works, and I cannot really pick one which is the best." Humbled enough to admit that not all of her works were hits, Locsin points out that some of her works did not survive the test of time. "The creative processes differ depending on how much research each piece needs," she adds.

Her journey to the neo-ethnic genre began when she was abroad, finishing her master's, aiming to be different. "With my classmates and teachers constantly critiquing me and my work, I asked myself, 'how can I shut them up?'" she recalls, laughing. This propelled her to research more on Filipino dance movements, which surprised her to much delight, for the country has a treasure trove of pre-colonial, folk, and classical dances.

"When I got the opportunity to choreograph for a ballet ensemble in Amsterdam, I said, 'if I choreograph a ballet, they've seen that already. Ballet came from the West!' So I came up with something inspired by the Igorots. When I came home, CCP invited me to be the featured choreographer for a showcase, and I did Igorot again. Unfortunately, there were some who did not like it," she shares.

Locsin ignores her critics and moves on to work on the next—this is how she dances in the competitive world she lives in.

Read also: Ballet Philippines Goes Full Gear for its 53rd Season

Tatler Asia
Above "Moriones", choreographed by National Artist Agnes Locsin (Photo: Ballet Philippines)

"Dance is my life; it's my medium of expression," Locsin says. "I never really seriously aimed for my choreographies to leave lasting marks on the people's social awareness. I went Filipino because I am Filipino. I stylized and transformed Filipino movements to pay tribute to our heritage and culture."

Locsin, like the other National Artists for Dance before her, struggled to preserve the traditional Filipino dances that are gradually fading from our cultural memory. "They should remain so that they can inspire future choreographers, artists, writers, and the like. I have been accused of bastardization, but for me, it's my way of paying tribute. I don't want to replace the dances, but just have renewed appreciation."

The National Artist for Dance hopes that today's generation of dance schools and companies use Filipino dances. She shares that there are dance organizations preserving and continuing this intangible cultural heritage of ours but not many schools. They still promote the Western form of dance. She shares that in the Locsin Dance Workshop, her mother's legacy, she uses Filipino dances and classic Filipino children's stories as inspiration.

Although she still teaches the Western techniques of classical ballet, she makes sure that the choreographies are rooted in Philippine culture. "There was one time that Thais and Indians asked me to do the same to their dances, mixing the strengths of the West and their particular countries. But I only know Filipino. So I said to them, and I say this again to dancers and choreographers out there, you have to know your culture."

NOW READ

Meet the New National Artists: Nora Aunor, Ricky Lee, Gemino Abad, and More

F Sionil Jose's Open Letter to Writers: Advice From a National Artist for Literature

Filipinx: Why is the Gender-Neutral Term So Controversial?

Topics