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Batang RO (Ramon Obusan)
The year was 2002, and realizing the need to expand his performing group to include children, Ramon Arevalo Obusan gathered a handful of youngsters to become part of what is now known as the Batang RO (Batang Ramon Obusan).
Now numbering around 35, these children have evolved from the raw boundless energy of young bodies trapped in the small confined spaces of their homes (most come from the local community around the ROFG Center) to that of multifaceted performers able to switch from dancers to musicians and vice versa. The dexterity to which they are able to apply these learned processes have raised them above par. Guided by the fundamental principle of the family as the basic social structure it was easier for the children to be goaded by their “siblings”, fellow members, to utilize the existing foundation of learning to its utmost. As a result, these kids have successfully channeled their energies towards a more productive and meaningful existence.
RAMON AREVALO OBUSAN, dancer, choreographer, stage designer and artistic drector, has achieved phenomenal success in the Philippine dance and cultural work. Also known as researcher, archivist and documentary filmmaker, Obusan has broadened and deepened our understanding of our cultural life and expressions.
Aside from his own numerous productions on stage and in the streets, directing pageants and festivals at home and abroad, Obusan has influenced other dance artists and researchers worldwide. Through the Ramon Obusan Folkloric Group (ROFG), he has effected cultural and diplomatic exchanges utilizing the multifarious aspects and dimensions of art of dance.
His group’s performances abroad have enriched and strengthened our ties with the contemporary world, especially with Europe, the Americas (particularly Mexico), the Middle East, Asia and the Pacific. -His acumen as scholar- artist, virtually the one in folk dance in our midst today, gains redoubtable respect for himself and the Filipino citizens.
His repertoire for ROFG is ever vitalized by Obusan’s intensive and extensive research in Philippine culture. At the same time, he sustains a continuing equitable relationship with the people, including children, living in their communities. Recognizing them as artists themselves, he encourages them to participate in his group’s performances.
Beyond the often formulaic panoramic survey of the Philippine rituals, dances, and music, he sometimes chooses a unified thematic construct that gives a total picture of our variegated cultural expressions, and the writes- as in his early Kayaw and the more current Vamos a Belen- an image of continuity and communality portraying us a nation.
Obusan’s obsession in harnessing the potentials of dance in Philippine society today is unparalleled as he unreservedly and incessantly creates a living reflection of ourselves, showing us who we are.
(Text taken from Ramon A. Obusan's National Artist citation given on June 9, 2006 at the Malacañan Palace)
For this year's Zero-in, Museo Pambata features “Sayaw!”. See various indigenous dance costumes from the collection of National Artist Ramon Obusan. Dance the tinikling, and make music with the different musical instruments such as the anklung, gabbang and gangsa. All on display at Museo Pambata until October 16.
MUSEO PAMBATA
Roxas Boulevard, corner South Drive, Manila
Batang RO (Ramon Obusan)
The year was 2002, and realizing the need to expand his performing group to include children, Ramon Arevalo Obusan gathered a handful of youngsters to become part of what is now known as the Batang RO (Batang Ramon Obusan).
Now numbering around 35, these children have evolved from the raw boundless energy of young bodies trapped in the small confined spaces of their homes (most come from the local community around the ROFG Center) to that of multifaceted performers able to switch from dancers to musicians and vice versa. The dexterity to which they are able to apply these learned processes have raised them above par. Guided by the fundamental principle of the family as the basic social structure it was easier for the children to be goaded by their “siblings”, fellow members, to utilize the existing foundation of learning to its utmost. As a result, these kids have successfully channeled their energies towards a more productive and meaningful existence.
RAMON AREVALO OBUSAN, dancer, choreographer, stage designer and artistic drector, has achieved phenomenal success in the Philippine dance and cultural work. Also known as researcher, archivist and documentary filmmaker, Obusan has broadened and deepened our understanding of our cultural life and expressions.
Aside from his own numerous productions on stage and in the streets, directing pageants and festivals at home and abroad, Obusan has influenced other dance artists and researchers worldwide. Through the Ramon Obusan Folkloric Group (ROFG), he has effected cultural and diplomatic exchanges utilizing the multifarious aspects and dimensions of art of dance.
His group’s performances abroad have enriched and strengthened our ties with the contemporary world, especially with Europe, the Americas (particularly Mexico), the Middle East, Asia and the Pacific. -His acumen as scholar- artist, virtually the one in folk dance in our midst today, gains redoubtable respect for himself and the Filipino citizens.
His repertoire for ROFG is ever vitalized by Obusan’s intensive and extensive research in Philippine culture. At the same time, he sustains a continuing equitable relationship with the people, including children, living in their communities. Recognizing them as artists themselves, he encourages them to participate in his group’s performances.
Beyond the often formulaic panoramic survey of the Philippine rituals, dances, and music, he sometimes chooses a unified thematic construct that gives a total picture of our variegated cultural expressions, and the writes- as in his early Kayaw and the more current Vamos a Belen- an image of continuity and communality portraying us a nation.
Obusan’s obsession in harnessing the potentials of dance in Philippine society today is unparalleled as he unreservedly and incessantly creates a living reflection of ourselves, showing us who we are.
(Text taken from Ramon A. Obusan's National Artist citation given on June 9, 2006 at the Malacañan Palace)
For this year's Zero-in, Museo Pambata features “Sayaw!”. See various indigenous dance costumes from the collection of National Artist Ramon Obusan. Dance the tinikling, and make music with the different musical instruments such as the anklung, gabbang and gangsa. All on display at Museo Pambata until October 16.
MUSEO PAMBATA
Roxas Boulevard, corner South Drive, Manila