Daily TribuneThe Contemporary Night of the festival belonged to Hiraya Contemporary Dance Company with their "Animal: Anihan ng Malay Act II."
Hiraya Contemporary Dance Company's 'Animal: Anihan ng Malay Act II.'
Jyllan Bitalac
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Ea Torrado's Daloy Dance Company: 'Himalaya 2.0"
Jyllan Bitalac
BenEx
Jyllan Bitalac
UP Dance Company's 'Banua'
Jyllan Bitalac
The International Dance Day Festival (IDDF) 2026 recently wrapped its ambitious 2026 edition at the Samsung Performing Arts Theater and affirmed that movement is a shared language.
The five-day marathon kicked off with a high-octane Opening Gala on 22 April featuring the American Ballet Theatre Studio Company, followed by Folk Dance night on the 23rd, Street Dance on the 24th, and a showcase of classical grace at the Ballet Gala on the 25th.
While the week was a whirlwind of genres, I managed to catch the bookends of the festival: the prestige of the ABT opening and creative force of the Contemporary Gala on 26 April.
Curated by Myra Beltran, the Contemporary Gala was a dense, evocative display of the country's modern movement landscape. The stage saw a succession of distinct voices: FEU Dance Company explored emotional dissonance in "In G Minor R"; Project DP drew from Matisse for the fluid "Pull R"; and Galaw.Co Dance Theatre brought a sense of playful camaraderie with "Trust Fall."
We also witnessed the spiritual inquiry of Rhosam Prudenciado Jr. and UP Filipiniana’s "Between Body and Spirit," the introspection of Dance Forum's "Slightly Misbehaving," the Y2K-inspired "Désire" and "Voler" by BenEx, the philosophical "Snytropy" by Airdance and Guang Ming Dance Project, and the
Strong works included the bleak void of UP Dance Co’s mesmerizing "Banua," and the sexy, sun-soaked emotional piece on heartbreak-to-healing in La Union in "Himalaya 2.0" by Daloy Dance Co.
However, the evening belonged to Hiraya Contemporary Dance Company with their "Animal: Anihan ng Malay Act II."
Directed by Richard Galang, the piece was a masterclass in high-concept storytelling that remained startlingly accessible. Framing corruption through the metaphor of a harvest cycle, the work is tense and cinematic, and sustains a dramatic atmosphere that gripped the room from the first note.
What makes Hiraya so consistently exciting—having first discovered them in last year’s IDDF—is their ability to function as a single entity.
In "Animal," their faces are obscured under straw hats, stripping away individual ego to reveal a thrillingly precise uniformity. Their unison is flawless, with a rigorously unified energy that turned the ensemble into one moving organism. Also, by rendering themselves faceless, the dancers force the audience to focus on the collective soul of the group.
It was a haunting, social commentary on power and systems, executed with such clean, synchronized power. Their use of weight and floor work was controlled, showing a level of athletic precision that felt both poetic and urgent. They also integrate straw into the choreography, turning it into a striking visual element. They toss it, move with it, grieve through it, and at times, seem consumed by it.
This kind of work reflects the festival’s direction in Makati. Ayala transforms corporate spaces into arenas for high-caliber international festivals like IDDF, shifts the landscape from mere commercial convenience to critical infrastructure for the performing arts, and ensures that dance remains a visible, integral part of the city’s urban identity.
