Formed in 1994, Dance Forum Myra Beltran is an independent dance group from the Philippines. Its work developed apart from state-supported institutions, and this is of significance in dance in the Philippines.

In 1997, it opened the use of a studio-theatre where it has premiered its works for the past five years, collaborated with artists of various disciplines, produced the work of young choreographers, and promoted various dialogues and exchanges with audiences about the nature and process of dance. The group has consistently performed in the provinces in the Philippines, exploring alternative spaces for dance in the regions. It has succeeded in cultivating a new and loyal audience for contemporary dance in the Philippines, and the possibilities it has opened up for dance in the Philippines make it an important voice in dance in that country.

Dance Forum distinguishes itself for its intimate but richly textured productions that convey warmth and sensitivity- dancers and collaborating artists breathe and move together in a liberative space, zeroing in on the living, breathing body.

Recently, Dance Forum (Myra Beltran) became the first Philippine contemporary dance group to perform at a global forum for dance, the World Dance Alliance's "Global Dance 2002" Festival and Conference held in Dusseldorf, Germany, contributing significantly to the festival theme of "The Future of Dance: Aesthetics of Diversity." By its presence, Dance Forum Myra Beltran showed the global community that the Philippines has grown into a country that is proud and unafraid of the multitude of ideas existing in its society, because these define its unique culture.

Myra Beltran
founder/artistic director, choreographer

Prior to her work as an independent artist, Myra worked professionally with Oldenburg Staatstheatre Ballett, Theatre of Prishtina (Yugoslavia), Ballet Philippines and Enrico Labayen's The Lab.,Projekt.

Since 1994, she has single-handedly led Dance Forum, whose work and existence opened up new possibilities in dance in the Philippines. For this, she holds a unique place in the Philippines dance community. The National Commission for Culture and Arts, Philippines awarded her the ALAB NG HARAYA for Individual Recognition in the Performing Arts 2001 for her work.

Major Works

Women Waiting (1994), Birdwoman (1996)
StarMaiden (1997)
Fragile Circle (1998), Quartet for the End of Time (1998)
Song (1999), Folds of Midnight (1999)
Daughters of Necessity (2000), choreographic.discourse.Moment in Desire (2000)
Payatas: point counterpoint (2001),
The Romeo and Juliet Project (2001)
Hugo: Gargoyle's Whisper and Dance (2002),
Trace of a Trace (2003)

Critics

"Singularity of purpose breaks out in singular steps in dance. A woman does just that in a small, marginal space on West Avenue with her Dance Forum ...

Myra is our most singular soloist today. Her persistence and perspicacy make a lonely voice to answer the (again) recently revived call for a hegemonic national dance company or "world-class" elitist organization. Myra is not concerned with success but with sensitivity."
- Basilio Villaruz, National Commission For Culture and the Arts Yearbook 2001 and Manila Standard, March 1997

"Among our dancers, Beltran is most courageous as a solo artist, unafraid to speak from the convictions of her heart, to find varying collaborators, and to perform before a small (but motley) crowd in an uproar at an unpretentious venue. There she has found a sustained following."
- Basilio Villaruz, The Manila Times, Nov. 1999

"Discourse is dance, dance is discourse. And if the allure of dance is its ephemerality, the allure of discourse is in its constant reinvention with every performance. Each performance is a discourse, and with Dance Forum we can be sure that it's an open invitation."
- Patricia Calzo Vega, Phil. Collegian 2000

"Now confined to her open box, she has discovered space in its multifaceted directions, volumes and immediacy. Beltran's works ranging from solos to quartets, have found scope in choreography and content. Even her redundancies have poetic ends. Often she also recites verses with disarming honesty … A feminist but not the virago kind, she explores the beliefs and fears of women with constant daring."
- Basilio Villaruz, Dance historian/critic, National Commission for Culture and the Arts 2001 Yearbook

"All I know is at the end of the evening, I brought home a memory: inside the theatre, I was perspiring from the heat generated by lights and the warm bodies, but what I usually find uncomfortable, was strangely part of the pleasure. The movement and music humming in my gut, I forced back my tears. I was experiencing the aesthetic in dance for the first time."
- Issy Orlina Reyes, LegManila, 1999