Three of a Kind: Weaving the indigenous with the contemporary

They say that good things come in threes and the Ballet Manila Archives wholeheartedly agrees! In this series, we feature three similarly themed photos or videos that celebrate the history of ballet, the company, and its dancers.

Taking inspiration from the upland tribal communities in the north, choreographer Jojo Lucila created Sari’t Bahag which has been part of Ballet Manila’s repertoire from the start. It is a nod to indigenous folk, with age-old rituals and traditional rhythms translated into a dance piece using contemporary movements.

Set to the music of Bayanihan, Sari’t Bahag opens with the Old Priestess helping the Head Warrior in choosing a Maiden to be his partner. An Idaw Bird ominously swoops down over their ceremonial union, which the Old Priestess interprets as a sign of bad things to come. The warrior and his men soon answer a call to battle. The curse of the Idaw Bird is affirmed when the warriors return defeated. Their leader has been slain, leaving behind his grieving widow.

Photos by Ocs Alvarez

Ballet Manila brought Jojo Lucila’s Sari’t Bahag on many of its performances in the Philippines and abroad in its early years. This photo for the company’s US tour shows the pioneers who originated the key roles in the choreography (from left): Pamela Asprer as the Idaw Bird, Ianne Damian as the Old Priestess, Osias Barroso Jr. as the Head Warrior and Lisa Macuja as the Maiden.

Sari’t Bahag was part of the repertoire for Ballet Manila’s performance tour in Russia in the 2000s. Playing the key roles were: Sofia Sangco Peralta as the Idaw Bird (in black), and next to her, Zaira Cosico as the Old Priestess, Ricardo Mallari as the Head Warrior and Marian Faustino as the Maiden.

In 2014, company scholars Jamil Montibon and Jessa Balote inherited the lead roles in Sari’t Bahag, bringing to life the fusion of traditional rhythms and contemporary movements for the appreciation of a new generation.