Ballet Philippines revisits a Nick Joaquin classic
Candice Adea in the title role in Alice Reyes’ Amada. Photo by Jojo Mamangun
MANILA, Philippines — Long before empowerment became a modern catchphrase and rallying cry for women the world over, there was the ritual of the Tadtarin, a three-day festival held in mid-June around the time of the summer solstice. Here, women reign supreme, and only when a man dons a piece of women’s clothing will he be allowed to participate.
It is a mesmerizing pagan ritual celebrating the supremacy of women embodied in one woman, the Tadtarin, who, on the last day of the festival — coinciding with the Catholic feast of St. John, one of many instances of syncretism in the Philippine system of beliefs — celebrates death and resurrection.
Alice Reyes explains, “The Tadtarin is used by both Nick Joaquin and myself as the dramatic background to this incredible journey.”
The ritual easily lends itself to artistic expression, and perhaps the best known is the late National Artist Nick Joaquin’s short story Summer Solstice. From Joaquin’s story, another National Artist, Alice Reyes of dance, has woven an equally riveting dance. Herself a pioneer of empowered womanhood, Reyes choreographed Amada in 1969 while still a graduate student at Sarah Lawrence College in New York. When she returned to Manila the following year, Amada had its Philippine premiere as part of her first dance concert at the then newly opened Cultural Center of the Philippines.
In Reyes’ ballet, Doña Amada lives in subservience to her powerful husband, Don Rafael. Her quiet existence is shaken by the Tadtarin. Her curiosity piqued, she checks out the nighttime ritual and is totally drawn in, becoming a committed participant. The Tadtarin passes on her power to Amada, which leads to the inevitable clash with her husband, a typical macho head of the household.
Now, nearly five decades later, Alice and Amada return to the CCP Main Theater stage in a revival of the iconic piece. Reyes is back as artistic director of Ballet Philippines, the company she founded in 1969, and will restage Amada for BP on Oct. 20, 21 and 22.
Like the Tadtarin, Alice will pass on her “power” to a new generation of dancers, including international award-winner Candice Adea in the title role. The original Tadtarin, likewise a legend Tina Santos, finds her reincarnation in Sarah Alejandro.
“For me as the choreographer inspired by Nick Joaquin’s short story, the story of Amada is the opening of a woman’s mind, when she becomes more curious, seeks more truths that widen the horizons of her life, and then tastes full empowerment of self,” Alice explains. “The Tadtarin is used by both Joaquin and myself as the dramatic background to this incredible journey.”
For Candice, whose diminutive size (she is all of five feet!) and disarming personality belie a strength that can fill a stage anywhere in the world, taking on the role of Amada is “Exciting!” she says. “I love story ballets. I did Amada when I was younger, and it will be interesting to see how I’ve grown as an artist.”
Also on the program are Songs of a Wayfarer (Norman Walker), Concertino (Pauline Koner), Ang Sultan (Gener Caringal), and Valse Fantasy (Muñeca Aponte).
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The Exemplars: Amada and Other Dances is featured at the CCP Main Theater on Oct. 20 (8 p.m.), Oct. 21 and 22 (2 p.m. and 7 p.m.). For tickets, call Ballet Philippines at 551-0221 or Ticketworld 891-9999.
