Filipino Performers Find Power in Ritual

The John Anson Ford Amphitheatre, usually a cool respite from summer, heated up Friday night with the presentation of “Tungo Sa Liwanag,” a dance drama celebrating the centennial of Philippine independence, though the commemoration does not officially begin until next year.

Meaning “Towards the Light,” this ambitious, occasionally awkward theater piece, written by Rico Obusan and directed by Dom Magwili, worked best when the scores of Filipino dancers ably went through their ritualistic paces. With more costume changes than RuPaul--and as many spangles, sequins, sarongs and scarves--the participants from BIBAK Dance Ensemble, Kayamanan Ng Lahi, and Kultura Philippine Folk Arts included lots of adorable children, and affecting body types ranging from plump to pert to sublime.

A young girl, Anak (Mariza Rivera comported herself gracefully), prefers wearing her Nike, “Just Do It” T-shirt to traditional garb. She is, however, expected to be the next village healer, as her mother, Ina (Gina Honda), feels herself losing the gift, and a tribe mediator needs curing.

Amid that premise, and accompanied by a group of superior percussion and fret musicians under the direction of Boy Angos, a number of lavish dances take place: Refined, small-stepping aristocracy sparkles with fans; do-si-doing commoners balance drinks on their heads while rolling around the stage; and, a plethora of loincloth-garbed warriors, brandishing silks in their teeth and sporting coconut-shell breastplates, run high-voltage circles with rhythmic ease.

Anak does end up “just doing it”--healing the ailing peace-maker--in “Transformation Dance,” lovingly choreographed by Rose Lago. A celebration ensues, and all involved soar from the darkness to star-studded light.