Agnes Locsin: ‘Dance is my life’
In a stunning photograph, a young Agnes Locsin executes a tour jeté. After a spin in the air, her extended legs create a perfect split, and her lips are well-placed, while her arms gracefully trace the lines of classical ballet.
That photo is from Locsin’s retrospective “Dance is My Life” at the Davao Museum of History and Ethnography. Though not widely publicized, the exhibition is a significant tribute to the National Artist for Dance and aligns with the museum’s series honoring other Davao-born National Artists, including Ang Kiu Kok.
Traditionally emphasizing tangible artworks, the museum has taken the significant step of presenting a substantial exhibition dedicated to the ephemeral art of dance. Curators Pamela and Virgilio Castrillo mounted a display featuring documentary photographs and archival materials. These include a satin ribbon award for “Best Dancer” Locsin received in kindergarten in 1963, which she considers more meaningful than the 2022 National Artist for Dance collar.
Other noteworthy items include the centurion mask worn by Alden Lugnasin in the “Moriones” dance and a metallic pointe shoe, a nod to Locsin’s mother’s practice of painting black dance shoes with silver in the 1950s and ‘60s. The exhibition also includes a comprehensive selection of dance performances on video, many accessible via QR code.
The exhibition begins with a large image of Locsin as a young child, compelled by her mother, Carmen Dakudao, to continue ballet classes. The exhibition layout includes a display featuring awards and special clay dolls created by US-based doll maker Monette Pangan, who was inspired by Locsin’s “Four Last Songs,” “La Revolution,” and “Encantada,” on YouTube. Through virtual meetings, Locsin guided her in replicating details such as her trademark hand gestures.
Oldest ballet school
The title “Dance is My Life” reflects a biographical approach, connecting Locsin’s personal history with the Locsin Dance Workshop (LDW), the country’s oldest ballet school founded by her mother. The exhibition highlights her contributions to modern dance and her choreographies for Ballet Philippines, where she mentored for 14 years and served as artistic director.
The exhibition also features rare charcoal drawings of “Paglalakbay” and “Elias” by National Artist BenCab, a painting from “Bagobo” by Santiago Bose, and an illustration of “Encantada” by Orville Tiamson.
Locsin created a series of charcoal drawings, “Alay Sa Puno,” to commemorate her soloists. Notably, she studied freehand drawing under Davao-born artist Alfred Galvez during her recovery from breast cancer 10 years ago.
Extensive documentation includes photographs from her work with Ateneo de Davao’s performance group, recitals at LDW, and dance workshops in the provinces, supported by the Cultural Center of the Philippines and the Carmen D. Locsin Foundation.
The exhibit showcases Locsin’s evolving style, combining the technical precision of classical ballet with the grounded expression of modern dance. Her work reflects Filipino influences of culture, environment, and traditional dance movements. Drawing from the theater discipline of acting, her style emphasizes intentional movement. At 67, Locsin continues to choreograph prolifically, creating dances for professionals and a diverse range of performers at LDW.
Locsin’s dynamic works, however, are best experienced on larger screens and through live performances. The limited space of the exhibition precluded optimal viewing and seating arrangements, and her former soloists are no longer performing.
These limitations are, however, more than compensated for by Locsin’s personal engagement. A gifted storyteller, she charms visitors with anecdotes, humor, and dramatic flair during guided tours.
Phases
A photograph by her father, Jose Locsin, taken at their studio in Davao, captures the culmination of her M.A. in Dance from Ohio State University, a leading American dance institution. Locsin noted that she, a provincial student taught by her mother, a “creator of movement” rather than a pedagogue, had significantly refined her technique through this program.
Clustered with her college photographs is a picture of the cast of “Sa Bundok ng Apo,” Davao’s inaugural rock opera, performed at the Ateneo de Davao in 1977. This marked Locsin’s initial collaboration with librettist Al Santos and Davaoeño singer-composer Joey Ayala. When Ballet Philippines rejected the proposal to restage the rock opera, Santos suggested a new musical about goddesses, rituals, folk Christianity, colonialism, and the environment. Premiered in 1992, “Encantada” became one of Locsin’s most celebrated works.
She developed a deeper appreciation for Filipino dances during her movement exploration classes at Ohio State University. Students presented their compositions, subject to rigorous evaluation. In one session on using weight and strength as choreographic devices, Locsin recalled: “To get one up on them, I incorporated Igorot and Muslim movements, which surprised my classmates.”
She attributed her knowledge of Filipino dances to her sister, Lourdes “Bing” Locsin, a former Bayanihan dancer. Locsin assisted her sister, who taught folk dance at the Philippine Women’s College. “My training in various dance genres broadened my creative possibilities,” she said,
Bing also introduced her to Alice Reyes, founder and artistic director of Ballet Philippines. In the mid-1990s, Locsin gained recognition for her works inspired by Philippine culture, culminating in the publication of her definitive book, “Philippine Neo-Ethnic Choreography,” which documented her research and creative process.
Her neo-ethnic work, however, was only one phase of her extensive career. Locsin also explored the “urban native” phase, not included in this exhibition. These dances gave a humorous spin on Davao life. She subsequently developed the “Sayaw” series, collaborating with poets and visual artists in Davao, and National Artists. The “Alay sa Puno” series, a collaborative effort with her former students, poets, and theater actors, further strengthened her environmental advocacy.
Camera-centric dances
During the pandemic, Locsin, along with Alden Lugnasin and Biag Gaongen, used the lockdown period to create camera-centric dances such as “Bathala” and “Dasal ni Santo Padre Pio.”
The exhibit likewise highlights the accomplishments of the LDW. The school’s recital choreographies demonstrate a high level of professionalism, exemplified by her 2010 homage to Michael Jackson. In recent years, Locsin has been championing Filipino identity in her dances, whether by integrating ethnic poses with tap or reimagining folk tales for the all-female students at LDW.
“My frustration with most school recitals is that they are overly focused on Broadway or Disney,” she observed. Her mother established a tradition of incorporating Philippine themes and music into LDW recitals, a tradition that Locsin has continued. In March, the school recital will feature its version of “Sarimanok,” with the title role performed by a male guest artist.
The exhibition concludes with a homemade ballet barre, crafted from found bamboo, positioned in front of a screen. This pandemic relic symbolizes the migration of live dance to the online platform. Finally, a glass showcase displays photographs from LDW. “That’s the future,” said Locsin.
The exhibit is on view until March 31 at the Davao Museum, Insular Village, Davao City.
