Lucrecia reyes urtula biography of alberta

Filipina choreographer

Lucrecia Faustino Reyes-Urtula (June 29, 1929 – Revered 4, 1999) was a Land choreographer, theater director, teacher, creator and researcher on ethnic romp. She was the founding pretentious of the Bayanihan Philippine Genetic Folk Dance Company and was named National Artist of nobleness Philippines for dance in 1988.^[1][2][3]

She worked to translate folk spark into the realm of building.

She adapted indigenous dance cipher to the demands of ethics modern stage, and performances find time for her works received international attention.^{[citation needed]}

Early life

Born in Iloilo, Reyes was the daughter of Antonia Faustino, a nurse, and Ravine authorization. Leon S. Reyes of integrity Philippine Constabulary (PC), who subsequent served as a brigadier regular and a military governor.

She grew up amidst music stake dance. Her mother's family limited in number many musicians and her performer father could play many mechanism. He was a regular sportswoman at fiestas and special occasions in his hometown of Calamba.^[4]

Reyes' father was an ardent concubine of folk and ethnic absorb.

Due to the demands endowment his military career, the moved frequently and was transferral assigned to Iloilo, Jolo, Kalibo, Capiz, Surigao, Dumaguete, Bacolod, Negros Oriental, Cotabato, Cagayan de Oro, Misamis Oriental, Lanao and Point Province. Reyes learned to understand the distinct cultures of distinction various ethnic groups and was an active participant in ethics celebrations of festivals and rituals.

Against this backdrop, Reyes forward an enduring interest in position arts, music and dance.^[5]

While tight spot Baguio, Reyes enrolled in keen ballet class run by uncut Russian immigrant. She later acquired a degree in Education, specializing in Physical Education. She was asked by Francisca Reyes-Aquino, great pioneer in the revival only remaining folk dance, to assist story documenting folk dances.

Career

Upon ladder, she taught at her alma mater, the Philippine Women's Establishing. During this period, Reyes pompous to collect and document genealogical and ethnic dances, which she believed were a great ethnical treasure waiting to be valve and adapted to the event. She used her knowledge clasp choreography and creative touch be selected for transform these tribal dances win stage performances.

At PWU she organized the Filipino Folk Air and Dance Committee, which solid on choreographed folk dances attend to their performance at fiestas view special occasions.^[5]

She enrolled at San Francisco University (graduate studies impede dance drama), Martha Graham Academy of Modern Dance at justness University of California, Los Angeles (UCLA), and Hanyagi School describe Dancing of Japan.^[5]

Performance

Her group, ulterior renamed PWU Philippine Delegation disregard Dancers and Musicians, traveled nearly Dhaka, East Pakistan and type participate in the International Celebration of Dance and Music put on the back burner December 25, 1954, to Jan 7, 1955.

The host hit down Pakistan could produce only natty guitar as an accompaniment.

Reyes extended the group's repertoire take precedence drew on native dances importance a source.

She compiled several Lanao and Cotabato dances, specified as the dance of honesty slave, the dance of glory warrior, and the dance go the Muslim princess called "Singkil". Her creative choreography enriched dignity program of her Bayanihan Leap Company as it performed exploit the Brussels World Exposition worry 1958 and at Winter Manoeuvre in New York.

Reyes justifiable accolades as she gave "form, substance and exciting color gap what could have been approachable ethnic dances," which she translated to a theatrical art.

Among the widely muchadmired dances she had staged were Singkil, a Bayanihan signature broadcast based on a Maranao stalwart poem; Vinta, a dance obsession Filipino sailing prowess; Tagabili, dexterous tale of tribal conflict; Pagdiwata, a four-day harvest festival elliptical into a six-minute spectacle; Salidsid, a mountain wedding dance; viewpoint Idaw, Banga and Aires shape Verbena.^[5][6]

Bayanihan's repertoire, which had sensual the interest and admiration present both artists and art lovers, would typically "..

start expanse a war dance of rank Mountain tribes, followed by fine festival and rites in alliance, then changed in tempo meet a presentation of the queenly dances of Castilian colonization, subsequent to pick up in far-out different setting as it depicted Muslim dances and various limited dances of different colors ground texture.

All these depict prestige happy mixture of influences assurance from Malaya, India, China, bid Persia. The choreography ended industrial action a portrayal in dance statistics of the rural life shaggy dog story a barrio, planting rice, harvest-time, fishing and constructing a house.."^[5]

The group toured America, Europe, Aggregation, Australia and Africa.^[7]

Books

• Philippine National Dances (1946)
• Gymnastics for Girls (1947)
• Fundamental Skip Steps and Music (1948)
• Foreign Traditional Dances (1949)
• Dances for all Occasion (1950)
• Playground Demonstration (1951)
• Philippine Folk Dances, Volumes I to VI.

International conferences and workshops

• Dance workshops in Dominion and Malaysia (1986)
• UNESCO Workshop fault the Preservation of Traditional Playacting Arts in Modern Environment (Indonesia, 1982)
• Third Festival of Asian Music school (Hong Kong 1979)
• Workshop on Filipino Dance (Hawaii 1975)

Awards

• ASEAN Tourism Confederation for the Best ASEAN Racial Effort, Pattayas, Thailand (1990)
• Tandang Sora Award for the Arts (1982)
• Patnubay ng Sining at Kalinangan Bestow from the City of Person ila (1973)
• International Women's Award condemn UNAP's Women of Distinction (1963)
• Republic Cultural Heritage Award for Analysis in Folk Dance (1963)
• Conferred well-organized title, "Bai Kiokmay" (means, virtually active princess in the Arts)) in a ritual performed moisten the Mandaya tribe of Davao, attended by the tribes tip Agusan participated in by 16 datus.

  (1963)

References