Maritess De Ocampo

Ballet Philippines' Paglalakbay The Journey of the Sea People

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Ballet Philippines' Paglalakbay

<p>ABS-CBN Lifestyle speaks with the creative powerhouse behind <a href="https://www.ballet.ph/" rel="noopener noreferrer" target="_blank">Ballet Philippines</a>&#x27; <em>Paglalakbay: The Journey of the Sea People,</em> and learns how one historic encounter with the Ivatan community inspired a spectacular original Filipino, full-length ballet. </p><div><span class="fr-img-caption fr-fic fr-dib" style="width:655px"><span class="fr-img-wrap"><img src="https://od2-image-api.abs-cbn.com/prod/editorImage/1776140166682BP Paglalakbay 0 Final.jpg" class="fr-fic fr-dib"/><span class="fr-inner"><em>Paglalakbay: The Journey of the Sea People</em> is an original Filipino full-length production inspired by Ballet Philippines&#x27; visit to the Ivatan People in 2024</span></span></span></div><p>The story follows a small group of voyagers braving the vast, unforgiving sea and, against all odds, reaches a fertile peaceful land where Ama meets Kaman. They fall deeply in love, and their days are filled with quiet joy and shared dreams. </p><p>The Spirit of the Land who guards the island watches Ama, the outsider, with suspicion. Fearing change, she turns Ama into stone, condemning him to be part of the earth itself, leaving Kaman heartbroken. </p><div><span class="fr-img-caption fr-fic fr-dib" style="width:655px"><span class="fr-img-wrap"><img src="https://od2-image-api.abs-cbn.com/prod/editorImage/1776140269686BP Paglalakbay 5.jpg" class="fr-fic fr-dib"/><span class="fr-inner">Suspicious of Ama, the outsider, The Spirit of the Land turns him to stone  (Rudolph Capongcol as Ama; Nicole Barroso as Spirit of the Land) | Photo by Larry Salgado </span></span></span></div><p>Kaman mourns and pleads for compassion, and as she collapses with grief, her belly touches the ground. The Spirit of the Land senses new life within her and discovers that she carries Ama’s child. Moved by compassion, The Spirit lifts the curse and restores Ama to life. </p><div><span class="fr-img-caption fr-fic fr-dib" style="width:655px"><span class="fr-img-wrap"><img src="https://od2-image-api.abs-cbn.com/prod/editorImage/1776140316704BP Paglalakbay 6.jpg" class="fr-fic fr-dib"/><span class="fr-inner">Kaman mourns the loss of her beloved Ama (Jemima Reyes Ocampo as Kaman) | Photo by Larry Salgado </span></span></span></div><p>Ama and Kaman choose to honor the land that has both tested and embraced them, and they raise their son, Biyag, who grows into a curious and courageous young man. Drawn by the same call of the sea, Biyag follows his father’s path and sets out on his own journey, carrying with him the love, resilience, and hope of those who came before him.</p><div><span class="fr-img-caption fr-fic fr-dib" style="width:655px"><span class="fr-img-wrap"><img src="https://od2-image-api.abs-cbn.com/prod/editorImage/1776140368922BP Paglalakbay 7.jpg" class="fr-fic fr-dib"/><span class="fr-inner">Ama and Kaman are together again, after the curse has been lifted | Photo by Larry Salgado </span></span></span></div><div><br/></div><div><strong>Ballet Philippines meets the Ivatan People</strong></div><p><em></em>BP President Kathleen Liechtenstein, narrates how<em> Paglalakbay</em> emerged from Ballet Brigade’s visit to Batanes on May 11, 2024, the first time ballet reached the Ivatan community. What started as a simple act of sharing dance became a profound cultural exchange. As Ballet Philippines (BP) introduced ballet to children and families, the Ivatan people opened their world in return, sharing stories of heritage, resilience, and ancient seafaring journeys that trace back to Austronesian migrations as early as 3000 BCE. From this encounter, the ballet took shape as an expression of Filipino identity in motion.</p><div><span class="fr-img-caption fr-fic fr-dib" style="width:655px"><span class="fr-img-wrap"><img src="https://od2-image-api.abs-cbn.com/prod/editorImage/1776140400663BP Paglalakbay 1.jpg" class="fr-fic fr-dib"/><span class="fr-inner">The original Filipino full-length ballet is inspired by the Austronesian Migration in 3000 BCE | Photo by Larry Salgado </span></span></span></div><p>Liechtenstein shares,“In many ways, it was a reciprocal journey. We shared the language of dance, and in return, the Ivatan community shared with us a proud history as ancient as the sea itself—stories of resilience, migration, and belonging.”</p><p>“Our ancestors were movers and shakers in human history! I promised myself there and then to produce a full-length ballet to tell the Ivatan story! Here we are now, at its World Premiere!”</p><div><br/></div><div><strong>A tribute to Filipino identity</strong></div><p>For BP Artistic Director Mikhail Martynyuk, <em>Paglalakbay </em>brings Ballet Philippines’ 56th season to a meaningful close, a tribute to Filipino identity. Inspired by the beauty of the Ivatan people and Batanes, the choreography allows wind, sea, and stone to move alongside the dancers.</p><div><span class="fr-img-caption fr-fic fr-dib" style="width:655px"><span class="fr-img-wrap"><img src="https://od2-image-api.abs-cbn.com/prod/editorImage/1776140438266BP Paglalakbay 2.jpg" class="fr-fic fr-dib"/><span class="fr-inner">It was a spectacular season-ender closing Ballet Philippines&#x27; 56th Season | Photo by Larry Salgado </span></span></span></div><p>Martynyuk shares,“This production is the culmination of the 56th season because it brings together everything the company stands for today: classical technique, a contemporary choreographic voice, and Filipino cultural identity. Throughout the season, Ballet Philippines has continued to explore how the discipline and rigor of the classical ballet tradition can coexist with new ideas, new narratives, and the evolving artistic voice of our dancers and creative collaborators.”</p><div><br/></div><div><strong>Movement as expansion</strong></div><p><em>Paglalakbay</em> librettist Sheree Chua says, “Migration is often framed as displacement, but my mother showed me that movement can also be expansion, a widening of self without losing origin. In her life, I witnessed resilience, adaptability, and a deep, unshakeable sense of identity. Those same qualities underpin the Austronesian Migration story that informs this work.” </p><div><span class="fr-img-caption fr-fic fr-dib" style="width:655px"><span class="fr-img-wrap"><img src="https://od2-image-api.abs-cbn.com/prod/editorImage/1776140486246BP Paglalakbay 3.jpg" class="fr-fic fr-dib"/><span class="fr-inner">The World Premiere of <em>Paglalakbay: The Journey of the Sea People </em>on April 10 at The Theatre at Solaire (Danielle Kleiner, left and Regina Magbitang, right as friends of Kaman) | Photo by Larry Salgado </span></span></span></div><p>“My mother is the emotional architect of the piece. Through her, I understood that heritage is not static—it breathes, shifts, evolves—yet remains anchored in something internal and enduring. This ballet becomes both historical and intimate: a large-scale narrative of seafaring peoples, and a personal tribute to the woman who first taught me how to move through the world.”</p><div><br/></div><div><strong>Manifesting movement through design</strong></div><p>Costume and set designer Leeroy New approached the production with a commitment to understanding Ivatan culture, drawing from research, collaboration, and firsthand experience in Batanes. The stage reflects the movement and energy of the landscape, such as waves crashing, winds sweeping across grasslands, and the rugged textures of stone and shore. </p><div><span class="fr-img-caption fr-fic fr-dib" style="width:655px"><span class="fr-img-wrap"><img src="https://od2-image-api.abs-cbn.com/prod/editorImage/1776141394616BP Paglalakbay B.jpg" class="fr-fic fr-dib"/><span class="fr-inner"><em>Paglalakbay&#x27;s </em>costumes and set were designed by Leeroy New | Photo by Larry Salgado  </span></span></span></div><p>New elaborates, “Our set hopes to capture the sense of movement hopefully we are able to manifest in the design for Batanes. The story was our first incentive to learn about the culture so it was very important for us to meet the people, get to know the many different aspects of Batanes. We focus specifically on the period which would be considered Neolithic. We referred to a lot of experts and with the help of other creatives in Batanes as well.”</p><div><br/></div><div><strong>Soundtrack, Romantic/Post Romantic Classical, Technical Death Metal</strong></div><p>Embracing creative freedom, composer Ronald Vincenzo Khaw de Leon draws from a wide range of influences alongside traditional Filipino sounds. The <em>kulintang</em> anchors the music in Filipino identity, while the inclusion of electric guitar and synthesizers introduces a contemporary dimension. Through both challenge and discovery, the process was a personal one, echoing his own experiences of leaving home and finding new ground.</p><p>De Leon reveals, “If I had to use one genre as an all-encompassing descriptor, it would have to be ‘Soundtrack.’ There really is no other way to group the music other than in its purpose. And the crazy thing is that I had even considered pushing it even further as my earliest drafts included a fully electronic ambient piece that I ultimately decided was too far of a departure and didn’t really serve the narrative as cohesively as it should have. If I had to name a few, the two clear genres featured in this ballet that don’t fall neatly under ‘Soundtrack’ would have to be ‘Romantic/Post-Romantic Classical’ and ‘Technical Death Metal.’”</p><div><span class="fr-img-caption fr-fic fr-dib" style="width:655px"><span class="fr-img-wrap"><img src="https://od2-image-api.abs-cbn.com/prod/editorImage/1776141764138BP Paglalakbay 4.jpg" class="fr-fic fr-dib"/><span class="fr-inner">A new beginning for Ama and Kaman | Photo by Larry Salgado </span></span></span></div><p>He adds, “Shostakovich I think is going to be a constant influence in my music, whether it’s in the actual aesthetics of it, or simply how politics is embedded within the music. I’ve been enamored by his sound for probably over a decade now, and it still speaks to me in ways no other western classical composer really has. Howard Shore’s score for <em>The Lord of the Rings</em> of course is the reason I got into scoring for film and media (which is why I’m based now in Los Angeles), and really informs me of less obvious musical choices especially when scoring.”</p><p>In preparation to compose the music, De Leon shares, “I got the libretto from the creative team, wrote out all the individual scenes as bullet points on a word document, labelled them with descriptors that would help inform me of what the music had to evoke, and got to working. This not only forced me to internalize the narrative and themes of<em> Paglalakbay</em>, but also streamlined the composition process as I wouldn’t have to re-read the relatively extensive libretto over and over.” </p><div><span class="fr-img-caption fr-fic fr-dib" style="width:655px"><span class="fr-img-wrap"><img src="https://od2-image-api.abs-cbn.com/prod/editorImage/1776141837019BP Paglalakbay 8.jpg" class="fr-fic fr-dib"/><span class="fr-inner">Recognizing his strength and leadership, the villagers give Biyag their blessings to go forth on his journey | Photo by Larry Salgado </span></span></span></div><p>He believes being a multi-instrumentalist is also really helpful in the early stages of composition. “Many composers I know and work with have their primary instrument with them as they compose, whether it’s the violin, piano/keyboard, or guitar, and what I’ve found is that you tend to compose music around your muscle memory when you do that. So I forced myself to begin writing these themes and melodies on different instruments, and I think it’s really obvious when you listen to the soundtrack.” </p><p>He acknowledged his close collaborator and brother Gabriel de Leon, “Who not only programmed the drums for <em>Paglalakbay</em>, but also assisted with composing themes, recording, and mixing.” </p><div><br/></div><div><em><strong>Rawod</strong></em><strong> and <em>Kalusan</em>: Preserving culture through chant</strong></div><p>Liechtenstein sheds light, “Traditional chants, which combine melody with poetic language, often utilize ‘old words’ or archaic language to connect the modern Ivatan to their ancestors.” </p><p>She explains that through chants, cultural identity is preserved. “Chanting allows the community to pass down knowledge, values, and memories of the ancestors to younger generations, ensuring the preservation of their distinct identity.”</p><p>Chants such as <em>rawod </em>chronicle journey and history and are “used to tell stories of the Ivatan&#x27;s forefathers, specifically recounting their journeys and escape from disasters.”</p><div><span class="fr-img-caption fr-fic fr-dib" style="width:655px"><span class="fr-img-wrap"><img src="https://od2-image-api.abs-cbn.com/prod/editorImage/1776142084860BP Paglalakbay A.jpg" class="fr-fic fr-dib"/><span class="fr-inner">With a hopeful heart, Biyag sets out on his voyage (Mark Anthony Balucay as Biyag) | Photo by Larry Salgado </span></span></span></div><p>Chua explains further that the <em>kalusan</em>, a traditional work chant sung collectively during communal labor, reflects this spirit of unity, while strengthening bonds within the community. </p><p>Typically, a lead voice begins the chant and others respond in rhythm, creating a call-and-response pattern that guides the pace of shared tasks such as farming, rowing, sawing lumber, or building homes.</p><p>She points out, “Beyond function, <em>kalusan</em> carries cultural memory. Its steady cadence reflects the resilience of the Ivatan people, whose lives have always been shaped by strong winds, rugged landscapes, and the surrounding sea. Through the chant, work becomes more than labor, it becomes an act of unity, endurance, and collective spirit.  The voices rising together echo the Ivatan philosophy that survival and prosperity are achieved not alone, but through cooperation, rhythm, and the strength of community.”</p><div><br/></div><div><strong>A voice from Batanes</strong></div><p>Bringing this tradition to life during <em>Paglalakbay</em>, is Ivatan chanter Guilbert Castillo Bongay, whose own journey reflects a deep commitment to culture and storytelling. A student at the University of Santo Tomas, he grew up immersed in his community’s oral traditions, shaping his passion for language, culture, and education. </p><div><span class="fr-img-caption fr-fic fr-dib" style="width:655px"><span class="fr-img-wrap"><img src="https://od2-image-api.abs-cbn.com/prod/editorImage/1776148523819BP Paglalakbay Ivatan Chanter Guilbert Castillo Bongay.jpg" class="fr-fic fr-dib"/><span class="fr-inner">Ivatan Chanter Guilbert Castillo Bongay | Photo by Larry Salgado</span></span></span></div><p>Alongside his academic achievements having been recognized as one of the Top 10 Secondary Students of Batanes for three consecutive years, and his work in campus journalism and broadcasting, he continues to champion Ivatan heritage through music and cultural initiatives, dedicating himself to preserving and sharing these traditions with wider audiences.</p><div><br/></div><div><strong>Epic, resilient, profoundly human</strong></div><p>Liechtenstein shares that <em>Paglalakbay </em>stands as both a celebration and a heartfelt declaration, an affirmation of Ballet Philippines’ commitment to telling Filipino stories with depth, dignity, and purpose. This bold production reflects not only artistic ambition but a sincere cultural journey, shaped by meaningful immersion and dialogue with the Ivatan community, and grounded in the belief that indigenous narratives deserve the scale and rigor of the classical stage. </p><div><span class="fr-img-caption fr-fic fr-dib" style="width:655px"><span class="fr-img-wrap"><img src="https://od2-image-api.abs-cbn.com/prod/editorImage/1776141993482BP Paglalakbay Thumbnail 1.jpg" class="fr-fic fr-dib"/><span class="fr-inner"><em>Paglalakbay: The Journey of the Sea People</em> closes Ballet Philippines&#x27; 56th Season | Photo by Larry Salgado</span></span></span></div><p><em></em>She elaborates, &quot;<em>Paglalakbay</em>, a full-length ballet robed in Filipino heritage, is a new face with a story attuned to the pulse of our time. It becomes more than a classical form; it becomes a living, evolving expression of Filipinos. By integrating indigenous movements, local music, textiles, and stories, we create something that is both globally accessible and deeply Filipino. In this way, ballet is not replacing our traditional dances—it is amplifying them. It becomes a bridge: between local and global, between heritage and modernity, between who we have been and who we are becoming.&quot;</p><p>Liechtenstein adds, “We hope audiences leave with a deeper appreciation of Ivatan culture and a renewed sense of pride in Filipino identity. <em>Paglalakbay</em> reminds us that our stories are epic, resilient, profoundly human, and universally interconnected.” </p>

<p>ABS-CBN Lifestyle speaks with the creative powerhouse behind '<i>Paglalakbay: The Journey of the Sea People,'</i> and learns how one historic encounter with the Ivatan community inspired a spectacular original Filipino, full-length ballet.</p>

ABS-CBN Lifestyle speaks with the creative powerhouse behind ' Paglalakbay: The Journey of the Sea People,' and learns how one historic encounter with the Ivatan community inspired a spectacular original Filipino, full-length ballet.

Backstage with Ballet Philippines: The making of 'Paglalakbay, The Journey of the Sea People'

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Backstage with Ballet Philippines: The making of 'Paglalakbay, The Journey of the Sea People'

Mawi Fojas De Ocampo

Published April 14, 2026 01:09 PM PHT

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Updated April 14, 2026 06:03 PM PHT

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