This April, Ballet Philippines unveils “Paglalakbay: The Journey of the Sea People,” a breathtaking ballet born from an immersive exploration of Batanes. It’s a story sculpted by the wind, the landscape, and the enduring memories of a unique culture, brought to life after extensive research in the Philippines’ northernmost reaches.
At its heart, “Paglalakbay” is a deeply human story – a connection between two individuals mirroring the profound relationship between people and their environment. Artistic Director Mikhail Martynyuk envisions a performance that resonates with audiences on a personal level, a tale of connection and the transformative power of journeys.
The company’s 2024 expedition wasn’t about replication, but about truly *feeling* Batanes. Over 200 locals welcomed the Ballet Brigade, sharing their heritage and witnessing the dancers’ interpretations. This exchange revealed subtle yet significant differences in movement, shaped by the mountainous terrain and unique cultural nuances.
Librettist Sheree Chua frames migration not as loss, but as expansion – a broadening of self while remaining rooted in origin. The ballet celebrates resilience, adaptability, and the enduring strength of identity, echoing the vast Austronesian migration story.
“Paglalakbay” is both a sweeping historical narrative and a deeply personal tribute. It’s a dedication to Chua’s mother, the woman who first guided her through the world, woven into a larger story of seafaring peoples and their enduring spirit.
The production’s soundscape, composed by emerging talent Ronald Vincenzo Khaw De Leon, masterfully blends modern electronic elements with classical foundations. This innovative score reflects the ballet’s ambition to bridge tradition and contemporary expression.
Respect for the Ivatan culture was paramount. Ballet Philippines meticulously sought approval from the National Commission on Indigenous Peoples, demonstrating a commitment to authenticity and sensitivity. The performance will even begin with a traditional chant performed by Ivatan chanters flown in from Batanes.
The stage design, conceived by Leeroy New, is a testament to the power of immersive research. A journey to Itbayat, seeking traces of ancient Ivatan structures, led to an unexpected four-hour trek through dense forests, informing the visual language of the ballet.
New’s team aimed to capture the essence of Batanes – crashing waves, jagged coastlines, windswept grasses, and eroding cliffs. The set and costumes will utilize natural materials like cogon, reed, and raffia, chosen for their responsiveness to the dancers’ movements.
Martynyuk draws parallels between his own journey and the Ballet Brigade’s mission. Having risen from a remote province in Siberia, he understands the importance of opportunity. He believes the Philippines is brimming with talent, waiting to be nurtured and showcased.
Ultimately, “Paglalakbay” transcends geographical boundaries. As Sheree Chua eloquently states, movement is a universal language. This ballet is a reflection of every individual’s journey – a poignant exploration of our past, present, and future.
“Paglalakbay: The Journey of the Sea People” will be performed from April 10 to 12 at The Theatre at Solaire, Parañaque City.
