Bringing Filipino dance and martial arts to the world

After closing its 56th season with a successful world premiere last 10 to 12 April at The Theatre at Solaire in Pasay, City, Ballet Philippines’ (BP) full-length original Filipino performance, Paglalakbay: The Journey of the Sea People, is heading for a global tour.

BP board member Mercedes Zobel, in a speech during the 10 April gala night, shared that over 200 BP dancers and staff immersed with the Ivatans in Batanes as preparation for Paglalakbay, which reimagines the lives, culture, beliefs and adventures of the Austro-Asian people in their journey to Batanes and other Philippine islands in 3,000 B.C.

BP president Kathleen Liechtenstein described Paglalakbay as an investment in original Filipino work, reflecting the company’s belief that local stories deserve the scale and rigor of the classical stage.

Inspired by the Austronesian migration, Paglalakbay tells a story of movement, identity and belonging. It follows Ama and Kaman in Batanes, whose journey reflects enduring themes of love, loss and the search for home across generations. Drawing from Batanes’ landscape — its wind, terrain and sea — the choreography by artistic director Mikhail Martynyuk emphasizes grounded, purposeful motion that reinterprets classical ballet as shaped by the environment.

Besides classical ballet, with hints of Swan Lake’s bird-like moves, among the show’s highlights is how BP ingeniously incorporates the Filipino martial arts Arnis or Kali, complete with sticks, into the dance routine — making the show truly world-class Filipino.

The inclusion of Arnis surely resonated with the members of the Philippine Air Force and Philippine Army and their families who graced the gala night through the Men in Uniform program. Also in attendance were First Lady Liza Araneta-Marcos and BP board members Lulette Monbiot, Amanda Luym, Sheree Chua, Carlo Calma, Atty. Lorna Kapunan and legal counsel Atty. Choi Kapunan.

The libretto by Sheree Chua presents migration as both historical and deeply personal, framing it as an ongoing process that reshapes identity while maintaining ties to origin.

Through artist Leeroy New’s leadership, the Ivatans’ villages and Batanes’ colors and textures have been recreated and reflected in the production design and costumes.

Beyond the stage, Paglalakbay reflects BP’s broader mission of accessibility and community engagement. Its long-running advocacy is to use dance as a tool for education, cultural exchange and social impact, reaching thousands of Filipinos annually through performances, workshops and community engagements.

Through its flagship Share the Magic (STM) program, the company brings thousands of public school students and underserved communities to experience live ballet performances each year. Its nationwide outreach efforts, including community-based programs and partnerships with local government units such as those in Muntinlupa, extend dance education and performances to diverse audiences — from urban communities to remote provinces, ensuring that ballet remains accessible beyond traditional theater spaces. Timothée Chalamet, take note.