This is the first dance review I wrote since February this year, and my first update of Runthru, my online dance magazine, since April. Last July, I was involved in an administrative role at the Wifi Body Festival, organizing the first conference for the festival, and that sort of commanded my attention more than I thought it would, on top of my usual busy-ness. I don’t feel short-changed, though, it’s all dance scholarship still, after all.
Anyway, when I watched the show, I was quite overwhelmed with this work of Jed’s, which was also performed at the CCP Little Theatre as part of the Wifi Body closing gala, but I felt had a more effective, more intimate feel when I saw it at Dance Forum studio space. During the performance, my mentor Steve, who had another appointment that evening, texted me about the paper he was to deliver the next day, and I texted him back that he was missing Jed. For me to tell my mentor that he was missing something meant that it wasn’t something that he should’ve missed.
Here’s an excerpt:
He walks onto the dance floor without shirt and shoes, his pedestrian movements transforming into stylized dance movement as he gets into his long-sleeved white shirt.
This movement is quite drawn out, so much so that Amihan is not just putting on his shirt, he is dancing with it, wielding it around as would an able dance partner. I have been watching Airdance since 2004, and probably first saw Amihan dance with them in 2006 or 2007, and have witnessed Papang (as his co-dancers playfully call him) bloom from an enthusiastic neophyte to the distinguished romantic figure he is today. Dancing-wise, his movements are both smoother and crisper now, exuding a subtle confidence that comes with dancing constantly for several years. Choreography-wise, his compositions are fuller, richer, more fluid in an unarguably precise way, again with that same confidence that speaks profoundly of what Amihan knows about dance and dancing.