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"It was recently in "Of Hunters and Their Prey" that the show went high in excitement.  The dances of the Cordillera never fail to magnetize: this time the rituals and imitations once more did, especially in the dramatization of a cornered boar.  But it was still in the simplicity of occupation and the fluidity of imitated flight of eagles that this program truly enraptured me.  Without any set piece but for the streams of light as though from the heavens, it was an indigenous but magical, almost sublime, moment."

EXCERPTS FROM REVIEW OF BASILLO ESTEBAN VILLARUZ OF BOTONG ON THE PASIG, MANILA CHRONICLE, DEC. 28 1991 -  JAN. 3, 1992
 

For the first time in the Philippines performing arts, three National Artists - Lucrecia R. Urtula (Dance), Lucrecia R. Kasilag (Music), and Leandro V. Locsin (Architecture) - have teamed up to pay homage to fellow National Artist Carlos "Botong" Francisco.

Initiated by the Bayanihan Philippine Dance Company, this merging of diverse talents has given rise to "BOTONG ON THE PASIG", a new program of dances inspired by the works of Angono's master painter.

The marriage between National artist Carlos "Botong" Francisco and the Bayanihan Philippine Dance Company is a natural.  Both find their artistic roots in our culture, both works celebrated the folklore of the entire nation, and their inspirations was fed by color, sound and rhythms of the Filipino people.

OFELIA R. RONDINA, SECTION FOUR, THE MANILA CHRONICLE, NOVEMBER 27, 1991
 

"AUBADE" which refers to a poem or a musical peace for dawn, marks the "break of a new day for the Bayanihan." This is Bayanihan's first collaboration with the art of the spoken word. "AUBADE"...... is poetry in dance and dance in poetry.  Even if a person is a dancer, it doesn't mean he can't think of beautiful thoughts.  Dancers speak and move in beauty, so there is poetry in what they do.

SUSAN A. DE GUZMAN, PHIL. DAILY INQUIRER
AUGUST 31, 1991
 

For the Bayanihan Philippine Dance Company, new horizons go beyond new dances and reportoires.  New horizons mean something more. 

From its time-honored commitment to dance, the Bayanihan turned to another muse, the muse of poetry in "AUBADE UNDER THE BAMBOO TRESS", mounted in celebration of the company's 34th anniversary.

In this production, The Bayanihan artists-turned-actors enacted dramatic scenes, serious or comic, welded to the dance members. 

IVY LIZA F. MENDOZA, HOME AND CULTURE MANILA BULLETIN, AUGUST 24, 1991
 

 

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