Sinulog: The passion of a dance master

Sinulog has always been a dance sanctuary for choreographers who have dedicated their lives researching, perpetrating and enriching dance productions that spell a difference. One dance maestro, through years of experience, outshines the rest as reflected in his colossal works. His name is Emelio "Jojin" Sanchez Pascual.

We know Tangub City for its successive winning entries in the Sinulog. Little do we know of the man behind the win.

Let's get to know him better.

The Freeman: How did you start being a choreographer?

Emilio Pascual: I started very early performing and putting together dance performances where I did the "Tinikling" when I was still in Kinder. I would credit the cultural renaissance Mandaue was going through in the 60's and 70's. During that time, Mandaue had the most active dance, choral and theater groups. My sibling, cousins, neighbors were all involved and since we had a big space in our residence, practices were usually there. Musicals were also the most popular theatrical fare in Cebu City at the time when the Bayanihan dance group was making raves in the country, as well as abroad.

But always wanting to be original and different, high school saw me emulating the performances of Martha Graham, Isadora Duncan, Alvin Ailey, Alice Reyes and the CCP Dance Company. So in school programs, most of the choreographies I did aimed at being profound and meaningful or else I did staging of excerpts from musicals. I seldom did pop performances.

I never had formal training but I was a voracious fan of dance and theatre. Hollywood and Broadway musicals were like the bible to me. I stayed up late at night for there was this defunct TV station that featured old Hollywood movies. So I was exposed to the likes of Gene Kelly, Fred Astaire, Ginger Rogers, Cyd Charisse and other great dancers of the movies.

I was never a member of university dance troupes but had opportunities to perform and choreograph numbers in university affairs but usually as a solo performer. Most of these performances were interpretive dances.

It was only after college when I joined the cultural dance troupe in Mandaue (Mandaue Filipiniana Cultural Troupe). From a chorus dancer, I graduated to being the director, researcher, writer and co-choreographer of our shows in the different parts of the country. For the "Sugilanon sa Sayaw" contest in 1980, we joined forces with the Mandaue Dance Company of the late Samuel Barte and won the grand prize. This victory eventually brought us to the Cultural Center of the Philippines in 1981 where we performed in a show billed as the "Best of Cebu".

TF: What was your 1st challenge as a choreographer?

EP: I guess my first challenge was really the Sinulog in 1985. I never had the chance to watch early Sinulog parades except for one brief glimpse of the previous year. Our group in Mandaue decided to join two weeks before the parade. The Coca-Cola plant in Cebu sponsored us. That was the 1st time the Sinulog saw dancers dressed in "balintawak" made of "saguran" fiber. The dancers also wore slippers made of abaca which disintegrated in a few hours' time. We gained 1st place in the commercial division and came out 8th in the overall ranking. Not bad for an entry that was put together in two weeks' time.

The challenge then for me was how to come up with an entry that would deviate from the usual presentations. In fact, that has become my trademark as a choreographer. I always go for something unique and fresh.

TF: Tell us about your memorable experiences.

EP: I have many big moments. Perhaps my biggest triumph was in 2002. This was the 1st time I handled the Sinanduloy Cultural Troupe of Tangub City. Everybody had doubts whether I could deliver. Fresh from their back to back victory in 2000 and 2001 in the Free Interpretation category of the Sinulog, Tangub City was not sure about crossing over to the Sinulog-based category. They were even unsure about hiring a semi-retired choreographer. During the entire period of rehearsals, I can feel the anxiety and the worry.

When the results came, I had the biggest laugh of all for, honestly, I myself had tons of doubt whether I could deliver for Tangub City or not! Not only did I help Tangub City win their first Sinulog-based category crown, it was also the 1st time Tangub City won best in costume and best in street dancing. It was also a triumph for me as it allowed me another series of chances to glorify the Sto. Niño annually during the Sinulog Festival. My Coca-cola days will always be the most memorable as those were the years when I learned so much. But my work in Tangub will always be the highlight. Not only was it a good comeback, I have also found so many new friends in the city. After five years working with the Tangub contingent, the city has become my second home. I beam with pride every time I am introduced as the adopted son of Tangub City.

TF: What is your formula for dance choreography?

EP: My basic formula is inspiration, information, collaboration. Inspiration is the important 1st step. It's the germ or seed from where everything else grows. It gives the direction of the concept, music, the movements, and the production elements. As I have no formal training in either dance or choreography, I try to study performance. I deconstruct and examine the choreographic elements and discover why such a combination works. My basic attitude is no choreography is perfect. There must be a better way to organize the performance. So even on the eve of performance, I may change the sequences or eliminate the elements which I think are off in the entire performance. Most importantly, I do not work alone. I always work with the team. I allow inputs from the entire production team and I listen to the performers, as well.

TF: What is your next goal or vision?

EP: Since I am no longer young, I look forward to the day when I am in the audience and enjoy watching the work of younger and promising choreographers.

There are people I need to acknowledge as these are the people who have given me the breaks and the chance to actualize the many concepts that have crossed my mind in the years I have been involved in dance.

My family, for never interfering with my passion for dance. Mommy Ising Soon, founder of the Mandaue Filipiniana Cultural Troupe. Clarence Sanchez, a cousin and the Coca-Cola marketing manager at the time of our performance. The Flores sisters (Louella Flores Cabanero, Nila Flores Fidellaga and Jessica Flores) who were my collaborators during the Sinulog years. Mayor Jennifer Wee Tan and Atty. Philip Tan, Vice Mayor Edemar Alota and the rest of the Sinanduloy cultural troupe. Dolores Suzara for opening the doors for me. If not for Ma'am Dolly, my Sinulog days would have been history.

But most of all, the Most Holy Child Jesus. The Sto. Niño has been the main source of inspiration, strength and hope all these years.

Pit Senyor!