Through MK Vintage and PCN, I was able to find different ways to express myself. With every restaging I did under Vintage, I worked hard to think outside the box and come up with formations and sequences that were unique to me. In Fall quarter, I restaged my own version of Kapagapir with influences from both Bayanihan and Parangal Dance company, as well as a Kadal Tahaw performance that was intended for FATD’s. In Winter Quarter, I restaged Paseo de Iloilo for AIOTS and for Spring Quarter, Sarung Banggi for MK’s 50th anniversary Gala. I also restaged Polka sa Plaza with Jaime Barrairo for PCN, which has been an unforgettable experience.
With every restaging, I try to do my best in informing my dancers of the history and cultural significance of each one, while also giving context behind the moves so that we all have a deeper understanding of what we are dancing. I even go over as many little details as I can in order to make sure everyone is consistent and is able to dance the best that they can.
When I choreograph/restage a dance, I do so with the mindset of making something that I would want to be a part of, something that I would want to dance in. I express myself through my restagings by putting my heart and soul to every move I teach. I do this to show the community my love for Philippine dance and how I used it to keep learning and to keep teaching. Expression is everything, and for me this year, it was through dance.