QUIZ 1: SOCIABILITY

Which best explains how Alice Reyes’ Amada and Itim-Asu contributed to the evolution of Philippine contemporary dance?

• Strict Western ballet without Filipino elements

• Fusion of indigenous movement and modern dance into a Filipino idiom

• Abstract movement with no cultural reference

• Pure improvisation rejecting narrative

Agnes Locsin’s “Neo-ethnic” choreography primarily aims to:

• Replace folk with Western ballet

• Promote purely indigenous dance without innovation

• Eliminate cultural references for universality

• Integrate ethnic themes into modern dance forms

Leonor Orosa-Goquingco’s Trend: Return to the Native is groundbreaking because it:

• Rejects Western influence for tribal rituals

• Introduces folkloric ballet blending classical and indigenous traditions

• Uses foreign music in Philippine theater

• Focuses on Spanish colonial dances exclusively

Founding Ballet Philippines under Alice Reyes, most significantly:

• Imposed foreign standards limiting local dancers

• Pursued commercial entertainment over culture

• Enforced rigid classical technique to curb innovation

• Professionalized dance and platformed Filipino identity in ballet

Compare Encantada (Locsin) and Philippine Life, Legend and Lore in Dance (Orosa-Goquingco).

• Both reject mythology

• Both prioritize Western narratives

• Locsin: colonial narratives; Orosa-Goquingco: ecology

• Locsin: environmental/mythic; Orosa-Goquingco: historical/cultural epics

Daisy Avellana’s Candida Marasigan symbolizes:

• Wealth over heritage

• Rejecting tradition for modernity

• Preserving family legacy and cultural identity

• Foreign dominance in theater

Tinio’s translations of Western classics into Filipino were significant because they:

• Removed philosophical depth

• Did literal word-for-word renderings

• Replaced cultural themes with Western ideologies

• Demonstrated Filipino language’s capacity for complex ideas

Wilfrido Guerrero democratized theater chiefly by:

• UP Mobile Theater outreach nationwide

• Limiting theater to elites

• Focusing only on urban audiences

• Discouraging amateur participation

Orosa-Goquingco’s multidisciplinary approach:

• Fragmented traditions

• Focused solely on choreography

• Rejected inter-art collaboration

• Integrated music, literature, visual arts into dance

Common principle in Reyes and Locsin:

• Total rejection of Western techniques

• Fusion of Filipino themes with contemporary forms

• Exclusive use of ritual without adaptation

• Abstract movement without cultural meaning