A Night of Asian Music and Dances, featuring the AILM Chorale –Asian Ensemble
a review by Rochita Loenen-Ruiz
(appears in Munting Nayon, July 2006 issue )


The Geertekerk with its simple structure and its high ceilings seemed a fitting frame for the performance of the AILM Chorale-Asian Ensemble.

Known for its outstanding performance of contemporary works of Asian composers and folk song arrangements, the AILM Chorale is also known as the foremost exponent of Asian church music. Not only that, but according to conductor, Jonathan Velasco, “there is not a single western piece in AILM’s repertoire,”

Composed of 40 members coming from different parts of Asia, and conducted by Jonathan Velasco, the chorale’s performance on the evening of May 24th was the first in a series of activities launched by Stichting Bayanihan to mark its 15th year of service to the Filipino community in The Netherlands.

Gathering was the first movement on the evening’s programme. We were greeted by a dance and song performance originating from Flores Island, Indonesia, inviting people to gather and praise the Lord. Following this first piece, the choir proceeded to sing Awit sa Panginoon, a song of worship composed by contemporary Filipino composer, Robin Estrada.

These two songs, Wahai Seiuruh Bumi Pujilah Iuhan ( Indonesian) and Awit sa Panginoon (Filipino), marked the beginning of an evening of entertainment, awe, and celebration.

The second movement of the chorale’s repertoire for the evening, was entitled Meditation. Here, we were gifted with songs such as Wing of Light and Mercy, To the Unnamed Light, and Giong Ngo Ko.

While all these pieces were sung with equal musicality, the one song that stands out in my memory is the performance of the second song in this movement.

To the Unnamed Light (arranged by Francisco Feliciano), is a song that is a translation of poet Rabindranath Tagore’s poem of the same title: “Life sends us in a blade of grass/ its silent hymn of praise/ to the unnamed light.

The elements of eastern mysticism and faith were almost tangible in the way the choir performed this piece so that it moves from being mere sung music into an art form. We are reminded not only aurally, but visually as well, of how worship is a revolution of the soul towards God. Stationing members of the female choir along the sides of the church, the men of the chorale in the center and with the lead soprano at the front, produced a full-stereo effect magnified by the acoustics of the church’s high ceilings.

While the men produced a bass humming accompaniment, the clear tones of the women mirrored the crystal sounding of the bell rung by the lead soprano.

Perhaps an interesting note here, is how all of the evening’s repertoire were sung a capella. The exceptions to this were songs and dances where indigenous instruments were used and the second half of the programme where the guitar accompanied Filipino songs.

Following this we moved on to the third movement where we were greeted with songs of celebration from: India, from the Igorot tribe of the Philippines and from Kalinga. This section ended with Gangsa players and dance, where the members of the chorale presented a traditional celebratory song and dance from Kalinga. Dressed in indigenous attire, the women in their woven skirts, the men in their bahag with gongs and wooden bamboo sticks in hand, this performance was greeted with cheers. A fitting end to the first half of the evening’s performance.

After the intermission, we were treated to a selection of folksongs and dances from different parts of Asia. A courtship song from Batak, Indonesia, a folksong from Betawi, Indonesia, a song to celebrate the Festival of Light in Thailand, a song expressing happiness and joy from Singapore and Malaysia, and a dance based on the Islamic movements of worshipping Allah.

Worth noting here, is the performance of the Saman Dance (Aceh, Indonesia ). Starting with slow movements, almost like child’s play, accelerating up to a speed which I’ve been told has been known to cause injury if one of the dancers should perform a move wrong or lag behind in rhythm, this number was well-received and applauded.

Following this, the AILM chorale proceeded to sing six Filipino songs dear to the hearts of many of those seated in the audience. Certainly, we are all familiar with songs such as Waway, Ti ayat ti meysa nga ubing, Pokpok Alimpako and Rosas Pandan. During this section of the performance, you could hear some of the audience humming or singing along under their breaths. A medley of Tagalog songs was greeted with equal enthusiasm, and as the evening drew to a close, the feeling of nostalgia weighed heavy in the air.

As with every performance that captures our hearts, there was a mass reluctance to leave. In response to the audience’s cries of encore, the AILM proceeded to sing for us the well-known Dahil sa Iyo, and a moving rendition of Ryan Cayabyab’s composition entitled, Paraiso.


Finally, the evening was over. We left the church, our heads still ringing with the sounds of Asia. For our European friends, the evening was an entertainment allowing them a deeper insight and appreciation of our culture . For us, the Filipino audience, I believe the evening made a deeper connection as these songs carried us back to our hometowns, and to the memories of a place we long for, and have left behind.