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Chairman Emeritus


Here are the two key elements that have kept Bayanihan continuously relevant and its appeal fresh even if the audiences now are the sons and daughters or even grandchildren of the audiences it delighted half a century ago. It did not get mired in a time-wrap. In the words of Mr. Terry, it went “beyond simple prevention” into “creative growth” with “skillfully ordered and swiftly paced” presentations.

But Bayanihan could not have gone from folklore into creative growth without a very critical supportive element: Research. Bayanihan never stopped its research into Philippine folk culture. In some instances it even researched comparative folkways in other

societies, particularly those with which Philippine culture has been and is interlaced and inter-related. The findings further enriched and brought into better perspective its discoveries and insights into our own folk culture.

Folk culture itself undergoes this process. One tribe or clan expresses itself through its music and dances. Succeeding generations enlarge and innovate on the same culture base to respond to changing tastes and perceptions. This constant and continuing process is the evolution of culture over the years. It involves creative growth, one generation improving upon what it found in the previous generation.

People and their culture evolve in tune and in time with generational succession. Those who remain frozen in time and cultural dimension are soon left behind. They become irrelevant, uninteresting and uninspiring. They cannot excite and engage new audiences.

Thankfully Bayanihan has avoided getting into this rut.

So now, half a century after Broadway, the Bayanihan audience has become global. Not just those it thrilled in the Great White Way but audiences all over the world.

But as always Bayanihan is dedicated to the audience that first recognized it – the Philippine audience. Even if that audience is now the heirs and successors of the audience of half a century ago.

Truly, Bayanihan today is Beyond Folklore.


As founder of the Bayanihan Philippine Dance Company, I am herby formalizing my wish and vision for the Company.

The Bayanihan Philippine Dance Company, as an Institution, has basic and fundamental propriety rights over its name, logo, signages, film, print, goodwill and properties, whether it be physical and / or intellectual property collections of dance repertoire, music programs and related materials and activities, in whatever forms or states in which these may be contained, expressed, stored, viewed and transmitted, which society respects and the law protects as its inherent property.

The Bayanihan Philippine Dance Company has the legal right to institute ways and means or systems by which these inherent rights are preserved, respected, protected and kept safe from any infringement whatsoever from third parties, or from individual person, people and / or judicial entities who have ill motives or personal interest to use and profit without seeking permission and official approval from its Company officials.

The Bayanihan Philippine Dance Company, thru its Officers and members are duty bound and have solemnly pledged to protect the Company at all times and should apply steps and measures deemed necessary and adequate to safeguard and protect the Company's rights, properties and interests.

This is to remind the Officers, that no entity or individual in whatever capacity, will use the name, logo, signages, film, print, goodwill and properties, whether physical or intellectual property collections of dance repertoire, music programs and related materials and activities, or anything that may refer or suggest its linkages to the Company.

As a matter of policy, any request to use the Company’s properties as previously stated shall be addressed to the Executive Director, who shall diligently review and subsequently recommend approval to the Board of Trustees.


Philippinescape 2 Message

Bayanihan has both to remain constant and to change and adapt. It has to remain constant and true to its mission of showcasing the best of Philippine culture and artistry. But it has to do this by making the changes needed to meet the preferences, expectations and requirements of an audience of a different century, an audience nurtured in high technology and the information age.



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