Paglalakbay, the closing production of Ballet Philippines' 56th season, is a triumphant celebration of Filipino creativity and talent. An original ballet, the work is inspired by the folklore of the Ivatan people of Batanes. In a creative collaboration with Sheree Chua, who provided the libretto, this ballet harnessed the talents of an impressive list. Choreography is by BP Artistic Director Misha Martynyuk, and the music is by Rolando V. Khaw de Leon; production and set design are by Leeroy New.

Curtain call of 'Paglalakbay'

You enter the Solaire Theater with no expectations or prior knowledge, as this gala is the very first performance of the ballet. And if you think about it, that’s a very rare occurrence nowadays. In theater, ballet, or opera, the wise move is to stage a work with a pre-existing fan base and go into revival mode. It’s the smart-money move, so I applaud Ballet Philippines for taking this bold step and creating the ‘magic’. 

Paglalakbay is that rare work of art. The choreography works: a mix of modern and classical, a blend of solos and ensemble work. The libretto chronicles the arrival of the Ivatan ancestors from Taiwan to the Batanes Islands. There are folklore legends and tribal customs, there’s the comfort of strangers and the rejection of these same ‘others’, there’s reconciliation and succession, and there’s maritime adventures and communing with Nature. And when I say Nature, it’s good to note how, whether assisted by wind, on the sea, or on land, the dance and storytelling make it abundantly clear where we are, which stage of the Ivatan journey as a people. 

It’s the search for home, for success across generations; so one can’t help but acknowledge how the ballet reflects our own modern-day diaspora, and the migrant workers of the Philippines. So, on the point of relevance, this work hits home in a good way and shouldn’t be dismissed as some ethno-anthropological souvenir of the past. There’s a dynamic force at work here, and kudos to the creatives behind this ballet for seeing it through. The storytelling is precise, the love-story angle is amusing, and the sense of community is omnipresent. 

I would not say it’s perfect, as some editing may have helped streamline the exposition, and I would have liked subtitles when the singing happens, as the distinct ethnolinguistic sounds created are like a mix of Chinese and Malay - so very interesting, and I wanted to know what was being sung. But all that can be addressed in future stagings and as the ballet evolves. 

For all the Chalamets out there, Paglalakbay is a vibrant, legitimizing work of Art. Ballet may not be as popular as cinema or other art forms, but as this work demonstrates, it’s not a fossilized art form either. I just wish there were a longer run for Paglalakbay so more Filipinos would get the chance to watch it.