International Dance Day Festival 2025: The Filipino is Worth Watching
International Dance Day 2025 is the second edition of Ayala Makati Circuits’ advocacy to cultivate interest towards dance and encourage collaboration in the community. Truly an event to be lauded, it showcased everything from traditional folkloric dances to urban beats, classical ballet, contemporary movement, and even paradance.
Artistic Courage and Choices
On opening night, Ayala Land made a bold choice by presenting the work of knighted choreographer Wayne McGregor, from the UK. His signature works emphasize collaboration, research, development, and the intricate processes of pursuing choreography.
“Autobiography V105,” performed on April 23, 2025, is, as the name implies, a personal account of life, exploring themes of humanity. Written notes, pictures, letters, and memories contributed to the creation of the choreography’s sections.
In contrast to the deeply emotional source of dance, this work combines science, technology, and artificial intelligence, completely transforming the art form. Beyond the success of the output, I found it a beautiful statement to make to the dance community during a festival that celebrates the beauty of the art form.
There are many reasons to be hopeful about the future. While many fear that AI could signal the death of all arts, I am encouraged that true creatives will emerge victorious. It serves as a beautiful example of a relentless artist, akin to a seedling in dry soil, fighting to find cracks to emerge and grow. Real artists will always find ways for people to see their art.
Ayala Land’s bold choice to showcase this masterpiece marks a thrilling moment for Filipino audiences—one where art disrupts, provokes, and lingers as a lesson.
Fond of Folk
The second day featured a breathtaking folk dance gala, offering a rare, full-length showcase of Filipino folk dance. The event was a powerful affirmation that our people are still passionate about our heritage. The performances—curated with care and reverence—offered audiences a rich look into regional identities and stories often left untold.
Performances by groups like Bayanihan, CEU Folk Dance Troupe, UST Salinggawi Dance Troupe, and others showcased incredible diversity, inclusivity, and artistry. A standout moment was a voiceover saying, “Bawat hakbang ay pag-ibig. Galing at galaw,” perfectly capturing the spirit of the evening. Live music, singing, chanting, and poetry enhanced the immersive experience, with groups presenting dazzling costumes and elaborate sets.
Highlights included UST Salinggawi’s thrilling version of “Sayaw sa Bangko” and “Tinikling,” featuring dynamic bamboo movements and acrobatics; CEU’s mesmerizing banga dance with dancers balancing up to twelve jars; and UE Silangan’s elegant Maria Clara Suite honoring Cora Inigo’s choreography. Bayanihan impressed with a dynamic duet and daring balancing acts.
UE Silangan; Jaypee Maristaza
Throughout the night, I witnessed countless new interpretations of Filipino life—from fishing communities to warrior dances—making it feel like opening a book of untold stories. The gala assured audiences that while folk dance may seem forgotten by some, it continues to evolve, preserving our culture for future generations.
To Each His Own
The IDD ballet gala was exactly what was expected: a showcase of pristine technique presented in various forms. The four prominent ballet companies stayed true to their branding.
The Philippine Ballet Theatre opened the show with “Bughaw,” featuring an Eraserheads medley arranged by National Artist Ryan Cayabyab. Choreographed by Gener Caringal, the company performed a piece in their signature style of neoclassical ballet.
Ballet Philippines presented an excerpt from “Panaginip,” which paired their intricate Filipino-inspired costumes with their athleticism. Ballet Manila went all out, featuring a full corps de ballet performing an excerpt from “Swan Lake.” Led by able dancers Abigail Oliveiro and Mark Sumaylo, they were all about classical beauty.
Alice Reyes Dance Philippines, consistent with their brand, showcased a modern ballet by Bam Damian entitled “C’EST LA CIE.” Demonstrating their speed, agility, and dynamism, closing the show passionately.
Hong Kong Ballet principal dancer Fei Fei Ye, partnered with soloist Ryo Kato to perform the Giselle pas de deux and the Butterfly Lovers pas de deux. Both were done with wonderful control and seamless partnering.
Steps Dance Studio and ABAP represented the ballet schools, showcasing our Filipino youth.
Homegrown Filipino dancer Vince Pelegrin, now an apprentice with the American Ballet Theatre, partnered with , an artist from the American Ballet Theatre Studio Company. Despite their youth, this pair was the most exciting to watch, impressing the audience in both “Le Corsaire” and “Birthday Variation” duets. In “Le Corsaire,” Park executed unimaginable tricks with admirable composure, including double alasecondes, triple fouettés, and suspended balances.
Vince Pelegrin and Sooha Park; Photo Credit: Jaypee Maristaza
While the guest artists delivered the evening’s most applauded moments, the heart of the gala lay in how the companies defined themselves. In doing so, they showed that there’s no single mold to fit into—only a buffet of voices, styles, and flavors worth savoring.
Most importantly, the local companies proved that Filipino ballet stands on strong ground, offering excellent technique and resonant artistry. That alone is something worth celebrating.
Dog Days Are Over
IDD Contemporary closed the festival. UP Dance company pieces “Eyy” and “Dog Days Are Over” quite frankly summarize the closing gala’s point of view. Choreographers Dingdong Selga and (Eyy) and Ea Torrado (Dog Days Are Over) both explored the concept of individuality, dancing in abandon, living in abandon in pursuit of some sort of happiness.
Similarly, dance is out there to feel like a warm hug for the audience. It’s the whole point of the International Dance Day festival to revel in the warmth of freedom of movement, to sit back and relax, and appreciate the freedom that can be seen on stage, and to be inspired by how great the Filipino dancers are.
The Filipino Is Worth Watching
IDD Festival 2025 delivered far more than a stage for 1,200 performers. It sent messages—some loud, some subtle—that deserve to linger in our minds. The opening reminded us that bold art survives. The folk gala showed us there are still chapters of our heritage yet to explore.
Ballet night affirmed that Filipino dancers can stand shoulder-to-shoulder with the world’s best and contemporary night reminded us that it’s okay to dance differently—to live differently.
Bigger and better than its premiere year, this festival reaffirmed the value of putting Filipino talent in the spotlight. And in the end, one thing rang loud and clear: the Filipino is worth watching.
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