LOS ANGELES--Saturday, August 10th at The Luckman Theatre on the Cal State University at Los Angeles campus, the singers, dancers and musicians of "Kayamangan Ng Lahi" (a non-profit arts organization dedicated to preserving and promoting the culture of The Philippines through the utilization of folk dance and music) staged a stunning folkloric dance and musical concert that showcased the beauty and complexity of the diverse traditions and people of The Philippines. The packed auditorium was filled with a mostly-Filipino audience that seemed to revel in the artistry that exhibited itself on the stage.

The program was presented in five distinct segments which concentrated on different aspects of Filipino life. Each segment showcased various influences that have shaped Filipino culture as well as the divergent regions of the Philippine archipelago.

The first segment was entitled "Northern Luzon Hilltribe: The Way Of Consonance And Conflict." This segment focused on Igorot life which revolves around the participation in centuries-old dances and tribal rituals that enliven social events. Pulsing percussion and extremely expressive dancing highlighted this portion of the program. Especially poignant was the recreation of the death of a warrior and his subsequent burial. The warrior's grieving family members exuded the very essence of agony, creating unforgettably moving moments.

The second segment was entitled "Western/Christian Influenced: Art As Social Consciousness" and focused on social, dance and musical forms introduced by the colonizers which followed Ferdinand Magellan's arrival in The Philippines during the early part of the sixteenth century. Spanish and European influences (adapted by Filipinos to fit their Southeast Asian character and customs) highlighted this segment which was more lighthearted and fun than the previous one, but was also elaborate and impressive.

The third segment was entitled "Mindanao Traditionalist: For The World Of Gods And Spirits." This segment illustrated the elementary relationship between the living world and the spirit world as illustrated by the tribespeople of the southern island of Mindanao. This segment's high point was the recreation of a group of warrior-hunters killing a ferocious hawk. The hawk costume was particularly impressive.

The fourth segment was entitled "Moro, Mindanao And Sulu: Art As Mystical Interpretation And Pageantry" and concentrates on the influence upon Filipino culture by the Islamic religion which arrived in The Philippines in the thirteenth century. A collage of dances showcasing Indian, Japanese, Chinese, Malaysian and Middle Eastern influences illustrated the talent of this fine company of artists. One of the evening's most impressive displays occurred during this segment and involved a trio of dancers who balanced themselves on large bamboo poles held by some undoubtedly-strong young performers.

The final segment was entitled "Traditional Philippine Provincial: The Filipino Way Of Love And Celebration." Accompanied by the splendid Kayamanan Ng Lahi rondalla musical ensemble, this segment used dance and music to show how the male/female relationship is expressed in uniquely Filipino ways. This portion of the program centered around a Filipino wedding and the many traditions which accompany such an occasion. This final segment became more and more elaborate as it progressed, culminating in a breathtaking dance during which large bamboo tubes are struck together on the ground with ever-increasing rapidity while dancers jump in and out of danger, trying to avoid getting their ankles crushed between the powerful tubes. This feat was the evening's most impressive display and was followed by a popular folk song medley that reflected the Filipino tendency to sing simple songs about love.

Overall, the evening's multi-faceted showcase of the rich culture of The Philippines was professionally staged and never dull. The choreography was intricate and difficult, but was performed with virtuosity. The segments alternated between being moving, fun and just plain impressive. The costumes were gorgeous. The musicians were flawless in their execution of a variety of musical styles. The singers were delightful in chorus and especially enchanting in the few solo performances. The appropriately spare set allowed the focus to remain on the talented performers.

While the experience offered by this ensemble was phenomenal, a few criticisms should be made. While the musicians and soloists were miked well and easy to hear, the same was not true of the chorus performers. Often times, while the chorus sang, the music tended to drown them out and that was unfortunate. Also, the narrator of the program seemed rather uninspired when compared to the performers on the stage. She seemed to be reading from a book and didn't offer much to the show.

It's a shame that there were only two performances of this magnificent production. This was an evening that anyone, Filipino or otherwise, would most assuredly enjoy thoroughly. Hopefully, Kayamanan Ng Lahi will stage future performances of the wonderful folkloric artistry of The Philippines sooner than later.

Kayamanan Ng Lahi was established in 1990 by Leonilo "Boy" Angos, Joel F. Jacinto, Barbara Ele and Avecita Jacinto. They achieved non-profit, tax-exempt status in 1994 and are dedicated to cultural preservation and education. The aforementioned founders all played important roles in "Lakbay Diwa" and deserve high praise for an evening that not only entertained but enlightened in a moving exhibition of talent and passion.