Tilan, Ma. Helen Ruth C.

12 HUMSS A
Lumingay, Gallangi’s Residence

Reminiscing the Life-long Legacy of a Filipina Dancer

“I just danced, which is one of those things: I ate, I slept, I danced.” –AR, 2014

EARLY LIFE AND EDUCATION

The aforementioned statement above was quoted by no other than the legendary dancer,
ALICE GARCIA REYES, insinuating that dancing, for her, was as natural as breathing. Alice,
or AR, as she is known amongst BP alumni, stagehands, production managers, and glam teams,
is an all-around Filipina dancer, choreographer, teacher, director and producer. Before long,
she’d been born on the year 1942 of October 18th into a family of artists, all musically-inclined:
Ricardo Reyes, her father, was once called Mr. Philippine Folk Dancer and Adoracion Garcia-
Reyes is her mother, who is a coloratura soprano and a noted voice teacher. Certainly, both of her
parents were voice teachers and pianists with degrees in Music from the University of the
Philippines, and two of her sisters: Denisa Reyes and Edna Vida, are dancer-choreographers
themselves, while Cecille is a pianist. Generally speaking, the Reyes Family seemed predestined
for a life in dance (Morales, 2016).
Alice’s eyes fill with tears as she thinks back almost half a century ago, in 1969, when
Ballet Philippines, then still known as the CCP Dance Workshop Company, was just beginning.
Together with Eddie Elejar, Alice had founded the
CCP’s resident dance group, ushering it into a long and
illustrious history of excellence in the performing arts.
At a young age, she and father joined the
Bayanihan Philippine Dance Company (now the
Bayanihan Philippine National Folk Dance Company).
She toured early on with her father, and trained at a
young age with Rosalia Merino while studying at
Maryknoll College, and later with Leonor Goquingco
(National Artist for Dance) and Ricardo Cassell at the
Philippine Women’s University.
It was after completing her post-graduate
studies in international relations that she deepened her
education in dance at a workshop at the Center of
Dance in Colorado Springs.
Photo courtesy from the Website: For this reason,
she continued to shine even brighter as BusinessWorld she grew up.
Way before she started the company that was to become
Ballet Philippines, she had started contributing to the household by dancing and creating dances
for the stage and television. Thus, instead of pursuing a career as a diplomat, Ms. Reyes

TEACHER: Contemporary Arts

Ma’am Julie M. Lunag
Tilan, Ma. Helen Ruth C.
12 HUMSS A
Lumingay, Gallangi’s Residence

dedicated her life to rehearsing and working with choreographers, performing classical ballet and
Filipino dances.
In 1969, Ms. Reyes, with the support of Eddie Elejar, founded the professional classical
and contemporary dance company Ballet Philippines (BP) where she served as artistic director
for 20 years from 1969 to 1989. BP was also the first resident company of the Cultural Center of
the Philippines (CCP).
To sum up the flow of successes in her life in
detailed manner, firstly, she was in the original Bayanihan
Dance Company world tour that performed in Brussels and
on Broadway in New York. She was also part of an
international show in Las Vegas. She finished her Master’s
degree at the Sarah Lawrence College in Bronxville, New
York, and trained under Bessie Schonberg, among others.
From there, she had a teaching position set for her in the
United States, had she not vacationed in Manila and saw the
new Cultural Center of the Philippines (CCP) theater and its
then empty programming. As a result, she organized her
peers then some of the best dancers in Manila and proposed
to present a modern dance concert at CCP. The concert was
a hit, and Ballet Philippines was born. She called the CCP
her home for 20
As Sita in “Rama Hari”. PHOTO BY
years, crafting a formula and work RUDY VIDAD ethic that remains
legendary to realize her dream of creating a
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professional, world-class Filipino dance company.
Her remarkable energy shone through in her roles and creations—as “Amada,” “Itim-
Asu,” Sisa, the bride in “Songs of the Wayfarer.” These were landmarks in sculpting a new
space for the Filipino dancer.
As she delved into bigger stories and more diverse, cosmopolitan directions, her
eloquence as a choreographer grew. She ignited the stage with Filipino ballets in a distinct
Filipino modern dance style while pushing classical ballet standards.
Years later we can still marvel and enjoy her “Bungkos Suite,” “Carmen,” “Carmina
Burana,” “Romeo and Juliet,” “Rama Hari,” “Cinderella”—all nuanced with Filipino
culture, gesture and grace.
The Natatanging Gawad Buhay is meant as a recognition of a lifetime of work that has
shaped the Philippine performing arts industry.
This year, Alice Reyes, who was just recently honored as National Artist for Dance, is
the recipient of the Natatanging Gawad Buhay for her legacy as

TEACHER: Contemporary Arts

Ma’am Julie M. Lunag
Tilan, Ma. Helen Ruth C.
12 HUMSS A
Lumingay, Gallangi’s Residence

“THE MOTHER OF PHILIPPINE MODERN DANCE”

TIMELY REVIVALS
TRAVELING AROUND THE WORLD and representing the Philippines as a diplomat
was the plan. However, fate decided that Alice Reyes would spend her professional life
dedicated to the art of movement. Instead of going to foreign service, she proceeded to dance.
(Soliman, 2018). She multifaceted pioneering role in establishing contemporary dance outside of
the older traditions of ballet and folk dancing in the Philippines has earned her the honor of
National Artist.
On Nov. 27, the newly opened CCP Black Box Theater was
dim and quiet after Ms. Reyes had finished having her picture taken
signing copies of her new book entitled: Alice Reyes & Ballet
Philippines: A 50-Year Legacy in Dance. Published under ABS-
CBN Books, Ms. Reyes’ book is divided into two sections —
Legacy and Repertoire. To expound, the “Legacy” section features
seven essays about Ms. Reyes’ personal history, the early years of
the dance company, and the
“Alice Reyes & Ballet Philippines: A 50-
company’s Year Legacy in Dance” will be available trajectory for dance in the country,
young soon in leading bookstores. choreographers, and dance education.
On the other hand, the “Repertoire” section
features 45 of BP’s best
dance works over the last 50 years.

STYLES AND TECHNIQUES

During Reyes’ term as president and artistic director, BP had
a signature style—a mixture of the linear purity and ethereal quality
of ballet complemented by the movement of breath through the body
and the dynamic use of weight in each body part, characteristics of
modern dance.
Reyes also showed how the universal language of modern
dance could express Filipino themes in such works as “At a Maranao
Gathering,” “Dugso,” “Bungkos Suite,” “Rajah Sulayman,”
“Bayanihan Revisited.”As a strong-willed woman, she instilled her
heroines with an independent spirit: the governor-general’s widow who avenges the
assassination of her husband in “Itim Asu” (Onyx Wolf); and Known as the ‘Mother of
Doña Lupeng and the female cultists who make men subservient Contemporary Dance,’ Reyes dances
challenging yet influential roles, such
in “Amada.” as this epic portrayal of ‘Sisa’

TEACHER: Contemporary Arts

Ma’am Julie M. Lunag
 Tilan, Ma. Helen Ruth C.
12 HUMSS A
Lumingay, Gallangi’s Residence

Her strength as a storyteller also came out in “Carmen,” which was told in the viewpoint
of Don José, the jilted lover. Reyes’ musicality was brought to the fore in “Carmina Burana” and
in “Company,” a fun piece set to Bach music, about dancers warming up in class and dressing
onstage for a full production. Reyes also used classical music in modern-dance lingo and rock
music with ballet, which was new in Manila in 1969.
Moreover, National Artist for Theater Design Salvador Bernal interpreted Reyes’ visual
style through costumes and sets. Because she seldom met
the public’s conservative expectations about dance,
Reyes was both criticized and cheered. Her style was
misunderstood in the beginning. Many remained
apathetic to dance. Recognition of Reyes’ role as a
driving force in the arts initially came from the cultural
cognoscenti, theater professionals and musicians.
Nonetheless, Reyes gave what the public wanted by
introducing classical ballet in the repertoire and
highlighting the classical training of her dancers.
Truly an inspiring and influential artist who
The founder of Ballet Philippines (BP)
shares the stage with Eddie Elejar in opened Filipinos to the modern dance genre, Alice Reyes
‘Itim-Asu’ swayed to the beat of her life, seizing opportunities and
taking bold chances—making her the “demanding” yet
caring mother of Philippine contemporary dance.

CONTRIBUTIONS
She was chiefly responsible in popularizing contemporary dance with the Alice Reyes
Dance Company which staged the first modern dance concert at
the Cultural Center of the Philippines Main Theater on February,
1970. It was this company that later became Ballet Philippines.
Since its inception in 1969, Ballet Philippines has
produced a repertoire of over 400 works, 30 of which are Reyes’.
For this reason, when the company went on world tours, foreign
audiences lauded the dancers for their high technical standards
and expressiveness.
Inspired by Reyes’ innovations, thespians such as
Bernardo Benardo, Nonon Padilla and Soxy Topacio urged her
to teach a summer workshop. The program covered a broad
spectrum of dance, theater arts and workshops, and became the
precursor of summer intensives now offered in most performing-
arts schools.

TEACHER: Contemporary Arts

Ma’am Julie M. Lunag
Tilan, Ma. Helen Ruth C.
12 HUMSS A
Lumingay, Gallangi’s Residence

Of her works, she is personally proud of Amada and Itim-Asu for its portrayal of a
woman’s strength in a historical setting. She shared that her works are inspired by artistic pieces
—may it be a painting, song, or story—that has deeply moved her.

“My art is not to be described, it’s to be seen. If I am able to describe it then that means
that my art is a failure. I like doing different things from the classics to Filipino works.”
To sum up, her contribution to Philippine dance is the development of distinctive modern
Filipino dance expression and her subject matters are using combinations of indigenous dance,
modern dance and ballet. Moreover, her inspiring innovations can still be seen in the
performances of today’s dance companies and through the instructions of teachers and
choreographers.

TEACHER: Contemporary Arts

Ma’am Julie M. Lunag
Tilan, Ma. Helen Ruth C.
12 HUMSS A
Lumingay, Gallangi’s Residence

Thereafter, her major works include Amada (1969), At a Maranaw gathering (1970),
Itim-asu (1971), Tales of Manuvu (1977), Rama Hari (1980) and the Bayanihan
Remembered (1987). Here are the major works of Alice Reyes as shown below:
At a Maranaw Gathering

TEACHER: Contemporary Arts

Ma’am Julie M. Lunag
Tilan, Ma. Helen Ruth C.
12 HUMSS A
Lumingay, Gallangi’s Residence

Through the researcher’s (Ma. Helen Tilan) childhood years, she wanted to wear
something red that is resplendent, representing a lady who will soon spent her entire life dancing
when she grows up. Dancing has been one of the researcher’s passion, she joined dance groups,
performed in various places, won dance awards, participated in dance tournaments and teach
other people how to dance based on what genre or forte they opt to learn. “I have always
dreamed to be given blessing of being able to sit in the theater and rejoice in somebody else’s
exquisite performance. Much better, to be there on stage dancing in front of an abundant live
audience,” the researcher’s reply. With this in mind, through Alice’s life and legacy analysis, the
researcher’s dream was achieved by her as seen through her efforts and contributions. It’s just
very satisfying that dancing has been everyone’s passion to keep their life going so here I am to
inspire others also. The researcher chose Alice Reyes to conduct research on because Alice’s
legacy reflected through the researcher’s way of struggle such as being discriminated by people
due to their mentality that dancing cannot pursue excellence, but she kept on choosing her
dreams until she has reached it. Thus, the outcome of this struggle turned out to be the driving
voice to every person’s discrimination and that dancing must be promoted. At some point, just
like Mrs. Reyes, the researcher also wanted to be a living legend someday, proud and happy that
she rendered service and gave contribution to her country and fellowmen. The researcher dreamt
that her legacy will also soon be evident in the companies, teachers, choreographers and the
exciting Filipino mantras of our country today although not through dancing, as long as it is
inspired by Alice Reyes.
The researcher also chose her for the reason of her brilliance which is exemplified in not
only in her works but also in her leadership. One reason includes Reyes as an instrument in
professionalizing dance in the Philippines and raising standards to the global level.

TEACHER: Contemporary Arts

Ma’am Julie M. Lunag
Tilan, Ma. Helen Ruth C.
12 HUMSS A
Lumingay, Gallangi’s Residence

SOURCES:
Soliman, M.P. (2019). Alice Reyes on 50 years — and counting — of Ballet Philippines.
Retrieved from
https://www.bworldonline.com/alice-reyes-on-50-years-and-counting-of-ballet-philippines/
Enriquez, M.C. (2014). Alice G. Reyes: Making Philippine dance grow by leaps and
bounds. Retrieved from
https://lifestyle.inquirer.net/164696/alice-g-reyes-making-philippine-dance-grow-by-leaps-and-
bounds/
Sumayao, M. (2019). The Villain and The Hero: Inside the Storied Life of National Artist
for Dance Alice Reyes. Retrieved from

TEACHER: Contemporary Arts

Ma’am Julie M. Lunag
Tilan, Ma. Helen Ruth C.
12 HUMSS A
Lumingay, Gallangi’s Residence

https://www.esquiremag.ph/the-good-life/what-she-wants/ballet-philippines-founder-alice-reyes-
life-a1866-20190801-lfrm3
ABS CBN News (2019). National artist for dance Alice Reyes chronicles Ballet
Philippines' golden milestone in new book. Retrieved from
https://www.abs-cbn.com/newsroom/news-releases/2019/11/28/alice-reyes-ballet-philippines-50-
year-legacy-in-d?lang=en
Nuevo, R. (2019). Alice Reyes On Pursuing Excellence At The Ballet Philippines Fifty
Years Later. Retrieved from
https://metro.style/people/society-personalities/alice-reyes/15300
Morales, P.A. (2016). A legacy of Filipino dance. Retrieved from
https://lifestyle.inquirer.net/227808/a-legacy-of-filipino-dance/
Marcial, J. (2018). NATIONAL ARTIST; ALICE REYES “THE MOTHER OF
CONTEMPORARY DANCE”. Retrieved from
https://judemarcialblog.wordpress.com/2018/07/22/national-artist-alice-reyes-the-mother-of-
contemporary-dance/

BALLET PHILIPPINES IN THE PRESENT ERA

TEACHER: Contemporary Arts

Ma’am Julie M. Lunag