Designing for Anting

It's been awhile since I've been able to blog. Thanks to a visit to the service provider's office, they reconfigured my wifi modem and finally, I'm up and running again. Finally!

I'm still quite on a high from designing Ballet Philippines' Neo-Filipino production of Anting. The contemporary ballet was done in four parts: Nang Wala Pang Mundo was choreographed by Ava Villanueva, Teeny Crame did Sinotris Gentilorum, Ang Cruz ng Alitagtag was done by Gerald Mercado and the finale, Haring Bakal was created by Paul Alexander Morales. The sets were designed by Zard Eguia. Lighting by Jon Villareal. My psychology professor Tony Perez created the libretto.

I've been quite fortunate to have had a long standing relationship with Ballet Philippines designing costumes for some of their noteworthy productions. Anting is of particular interest since it deals with the esoteric world of faith and amulets and how they have found a certain niche in the spiritual lives of modern day Filipinos. A touchy subject considering those in the lower echelons of society still readily approach herbolarios for their little ailments instead of trained physicians. Perhaps, thing unknown can only be approached on a psycho-spiritual level.

The entire production was completed in a matter of a month and a half. We worked really hard on the production and frantically as well. The CCP theater schedules wait for no one. It was all worth it , though. We got positive feedback from the Mayor of Alitagtag who came to watch the ballet on a rainy Saturday  afternoon. Kudos goes to the University of the East Chorale who rendered a spine chilling series of songs out of the verses from ancient latin prayers.

Designing the costumes was a bit tricky. It starts off prior to the creation of the world and ends in contemporary time. So conceptualizing the designs had to consider the time span of entire millenia. Besides, a lot of designers approach Ballet Philippines for the opportunity to design a ballet... and some fail miserably, at that. So I've embraced the fact that my being a dancer in the past helps with the final outcome of the designs.

Some designers approach costume design from the point of view of fashion. True, to a certain extent, costumes have to be visually appealing. But a designer for ballet has to remember that the artists have to dance in them. That's the prime consideration! A particular design might be visually stunning but if a dancer can not do their enchainements then the design is useless. Besides, ballet has a long history behind it and there are particular nuances that denote a character's traits within the storyline. Forget that or ignore it and purists will be all over your design. 

Happily everything ended on a positive note. Up until opening date, some costumes were being replaced and/or augmented. The changes were made inspite of a minimal budget which can drive anyone nuts. But we managed. So kudos to everyone involved in the production...