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Rhosam Prudenciado Jr. Handout

The International Dance Day (IDD) Festival produced by Samsung Performing Arts Theatre came to a close last April 26. Having seen the entire festival — from the opening show of the ABT Studio Company, Folk, Hip Hop, Ballet, and Contemporary Gala — it had me reflecting on representation.While waiting for the curtains to rise, I overheard audience members talking. One line stood out: “Just because you put one or two international artists doesn’t make it international.” A bold, yet beautiful statement that completely rewired my perspective as I went on to watch the rest of the shows. My expectations went a notch higher — but I believed the festival would deliver.An international festival should reflect a benchmark of talent and creativity, while also showcasing how our local artists can stand in depth, talent, and entertainment alongside the world.The IDD Festival’s curation over the last two seasons has consistently hit the mark in terms of representation. What each company presents tells the audience what they value and how they want to be seen — clearly differentiating themselves from one another. But now I realize, it’s not just about representing your brand.In its third year, the festival has the power to paint a more cohesive picture of what we want to tell the world about the Philippines.I’ve attended galas in different countries, and I’ve seen how audiences travel for dance. This year, I saw that beginning to happen here. There were more foreigners, more presence — many stayed for almost the entire festival. That in itself is progress. And as the IDD Festival gains the attention of a more international audience, there is now a growing responsibility — not just to present diversity, but to show our very best. It’s no longer just about fostering unity within the dance community, no longer just about igniting a spark for dancers. It’s about positioning our talent on the global stage, about marketing what we can offer beyond our borders.If we can say “Make it Makati,” then we should be able to say: make the Philippines your next destination for the arts. Look at the Hong Kong Arts Festival or the Singapore International Festival of Arts — they don’t just present performances; they draw the world in. Opening Gala Night, featuring the ABT Studio Company, was truly a conversation starter. That caliber of dancing was outstanding. I would be remiss not to mention that the performers — who are, in essence, trainees of American Ballet Theatre (scholars and apprentices) — are only around 17 to 22 years old. Yet some of them could easily match the competence of our very own soloists in established companies. Their collective performance is a reminder that it doesn’t take years of experience to reach this level — it takes grit, humility, and very good training. It was a wake-up call for our local dancers to keep pushing forward — a clear reminder that we should always aim to be at par with global standards.<div><img src="https://od2-image-api.abs-cbn.com/prod/editorImage/1778025275924K ballet.jpg" style="width:960px" class="fr-fic fr-dib" width="960"/>K ballet. Handout</div>The repertoire itself offered rare gems for the local audience. It was, for lack of a better word, nakakilig to witness works like Twyla Tharp’s neoclassical Cornbread, and a rare sighting of the Sylvia Pas de Deux — perhaps even its first time being performed here in Manila. The rarity of these pieces, performed at such a high level, kept the audience in a constant buzz.Folk Dance Night became a conversation starter — but not in the way one would hope. Last year’s edition brought out everything colorful about our Filipino heritage. It painted the Philippines as a melting pot of ornate cultural nuances, with works spanning Luzon, Visayas, and Mindanao. It reminded audiences that there is far more to our traditions than tinikling and singkil — flamboyant, entertaining, and eye-catching, it reignited interest in a genre often overlooked.This year, the intention was clearly more noble — purpose over entertainment. The curation pushed for diversity, allowing smaller groups to share the stage with more established companies, while also featuring artists of different ages and body types. The themes leaned toward shared celebration, communal life — mour rituals, livelihood, even our games. On paper, it was a promising program.However, the opening by Bayanihan Philippine National Folk Dance Company quickly dampened my  optimism. As the country’s flagship company, one expects something distinctly Filipino. While Intramuros of Memory had energy, it lacked clarity of movement. As a modernized take on traditional vocabulary, it felt disconnected — especially for such an important platform. The visual choice of having geisha-looking masks only added to that confusion. It was a difficult opening to recover from.  There were, however, strong highlights. The surprise appearance of Ligaya Amilbangsa performing Pangalay with a combined group from Alun Alun Dance Circle, Marikina Culture and Arts Council, and Marikina Dance Guild was deeply moving. Seeing dancers of different ages and forms alongside her felt symbolic — tradition being carried across generations.Perhaps the most entertaining was Sindaw Philippines Performing Arts Guild, whose Bountiful Harvest of Pasasalamat ng Subanon was delivered with panache. They have a strong choreographic voice and know how to command attention. The most thought-provoking was UP Filipiniana’s Ivatan Suite, an uncommon blend of dance and theater that portrayed the push and pull between opposing communities — a bold and intelligent piece that stood out for its narrative depth.<div><img src="https://od2-image-api.abs-cbn.com/prod/editorImage/1778025355706Bayanihan Folk Dance.jpg" style="width:960px" class="fr-fic fr-dib" width="960"/>Bayanihan Folk Dance. Handout</div>Collectively, the folk dance  show was still a beautiful night of dance — but as I said earlier, this is not just a regular show. I had hoped more groups would have come in with their A-game. Audience reactions were varied, but the post-show conversations were telling.For folk dance to survive, it must continue to evolve in creativity without sacrificing research, context, skill — and frankly, entertainment value. It must responsibly, and with proper nuance, draw audiences in, so that what it presents is not only seen, but remembered and cherished.<div><img src="https://od2-image-api.abs-cbn.com/prod/editorImage/1778025700068Australian Ballet.jpg" style="width:960px" class="fr-fic fr-dib" width="960"/>Australian Ballet. Handout</div>The Ballet Gala, on the other hand, was an experience in itself. While the  international guests were clearly of world-class caliber, luck wasn’t entirely on their side. Representing The Australian Ballet, Katherine Sonnekus and Charles Dashwood arrived with full emotive quality. Their expression was expansive, their port de bras refined — from the tips of their fingers to their toes — and both had carriage that spelled Principal Status. In the Black Swan Grand Pas de Deux, they delivered. However, Dashwood’s solo took an unfortunate turn with a fall to the knee, and it took a moment before he could recover.From K-Ballet Company, Mine Nagao and Hirotaka Yamada performed Flames of Paris and Don Quixote Grand Pas de Deux — both marred by several errors. They are, without question, skilled professionals, but this is live performance, and they are human. Yamada, however, was the clear audience favorite. Despite some untidy finishes, his technical command — soaring jumps with suspended ballon, multiple turns, and sharp pull-ins — was undeniable. He became an exhibition of virtuosity, and with his charm, had even the dancers backstage shouting “bravo” louder than the already thrilled audience. Visibly he seems to embody his company founder&#x27;s style. Tetsuya Kumakawa of K- Company must be proud.Nagao is every bit a technician, but on that evening, she struggled to complete her fouettés in both performances. She managed to save her hops on pointe and turns, but it seemed she was dealing with an issue in her foot.I do hope she is okay.Meanwhile, Alice Reyes Dance Philippines presented Holberg Suite, a classical work by Adam Sage. It has been a while since we’ve seen a classical ballet offering from the company, making it a refreshing addition. With its sophisticated vocabulary in the duets and trios, the piece carried a sense of elegance and restraint.Ballet Manila performed a teaser of their upcoming Paquita with a full corps de ballet. It was a strong statement — knowing how important IDD is, they brought in their entire company to be seen and experienced by the who’s who of the dance community. It felt intentional: when the platform is this visible, you show up fully.Ballet Philippines presented Equus with their fleet of soloists — a piece centered on the discipline and relentless work behind a dancer’s craft. This piece choreographed  by Mikhail Martynuk was a fitting homage to dance itself, appropriately honoring dancers on Dance Day.In contrast, Philippine Ballet Theatre brought Ronilo Jaynario&#x27;s  La Femme, a contemporary ballet exploring the power of womanhood. While it was a strong piece on its own, within a heavily classical-leaning evening it felt slightly off-context — almost disruptive to the otherwise unified tone of the program.ABAP and Steps Dance Studio brought their best students to the stage, and it was refreshing to see the youth perform with such passion and commitment. A reminder of the pipeline that keeps the art form alive.Hip Hop Night was deliciously energetic. Hands down, the standout was Eleven 11, a girl group that delivered an artistic presence comparable to global acts like BLACKPINK and KATSEYE. Now, if only they could sing too. Maneuvers Ignite brought a wave of ’90s nostalgia to the forefront, complete with that unmistakable Gary Valenciano swagger.<div><img src="https://od2-image-api.abs-cbn.com/prod/editorImage/1778025414368Eleven 11.jpg" style="width:960px" class="fr-fic fr-dib" width="960"/>Eleven 11. Handout</div>While most groups were genuinely entertaining, I find myself circling back to representation. Hip Hop competitions in Manila have consistently shown over the top creative concepts. Hip Hop Night was exciting — but not quite genius.Closing the festival was the Contemporary Gala. I unfortunately missed a few works, but I saw enough to sense that the future of contemporary dance here is becoming clearer and brighter.FEU Dance Company opened with a revamped competition piece choreographed by Ronieth Dayao — a striking concept exploring madness in music and orchestration. A maestro conducts, and the dancers become the notes bending to his will, embodying melody and texture through intricate canon sequences and sharp lifts. I only wish the original white costumes had been retained, as they once evoked the visual metaphor of piano keys. Still, it was powerful work, and I’m glad this group — clearly gaining momentum — was given this platform. The dancers are well-trained and deserved this moment.<div><img src="https://od2-image-api.abs-cbn.com/prod/editorImage/1778025603547Rhosam Prudenciado Jr.jpg" style="width:960px;display:block;height:auto" class="fr-fic fr-dib" width="960"/>Rhosam Prudenciado Jr. Handout</div>Perhaps my favorite contemporary piece was Rhosam Prudenciano Jr.’s Between Body and Spirit, which explored the tension and irony between physical form and inner essence. Two male dancers from UP Filipiniana Dance Group appeared connected at the head, initially moving in unison before shifting into moments of conflict. The simplicity of the concept was its strength. The partnering was inventive and deeply affecting, supported by dancers strong in both artistry and technique. Even the contrast in their physical presence — one fair-skinned, one olive-skinned — subtly heightened the visual duality of the piece. The presence of active choreographers contributing work to this gala was reassuring.In closing, while the festival was undeniably a success, it also brings us back to the central thread of everything I witnessed — the weight of representation under the word international.As the IDD Festival continues to grow in scale and visibility, companies must be more mindful of what they place on that stage. It is no longer just about participation or presentation; it is about how we position our national landscape in a global conversation of dance. You never really know who is watching.And in that space of visibility, dancers must always be on their toes — not only in execution, but in standard, in preparation, and in the quiet responsibility of what it means to represent something larger than oneself.

The third edition of the International Dance Day Festival 2026 delivered world-class performances, breakout moments, and difficult questions about representation, artistic standards, and what it truly means for Philippine dance to call itself “international.”

The third edition of the International Dance Day Festival 2026 delivered world-class performances, breakout moments, and difficult questions about representation, artistic standards, and what it truly means for Philippine dance to call itself “international.”

Review: IDD 2026 was a triumph — and a wake-up call for Philippine dance

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Review: IDD 2026 was a triumph — and a wake-up call for Philippine dance

Erica Marquez-Jacinto

Published May 07, 2026 06:03 PM PHT

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