Words of wisdom from Lao-tze
Although I’m an Oriental, my entire scholastic education, from elementary to post-graduate in the Philippines, the only Christian nation in Asia, was heavily Western-influenced.
In fact, college graduates in the Philippines know more of American and European history and culture than they do of Asian countries. Typical of a people of a colonized nation, Filipinos adapted the values of the colonizer.
It was only after graduating from college that I began to read voraciously on Oriental literature and philosophy and realized what I had missed. I was fascinated by the mysticism of the Upanishads and the Bhagavad Gita of the Hindus, the practical teachings of the Buddha and the moral sayings of Confucius.
But it was the Tao Te Ching, also known as Lao Tzu, Laozi or Lao-tze that I always turned to whenever I sought deeper insight into the meaning of things.
‘Book of Tao’
The origin of “Book of Tao,” which contains a mere 5,000 words, written 2,400 years ago by a mysterious philosopher named Lao-tze, is unknown. And yet, more than any other single work, it has quietly influenced the minds of one third of the world’s population.
This led the Chinese writer Lin Yutang to declare in his book “The Wisdom of China”: “If there is one book in Oriental literature which one should read above all others, it is in my opinion Laotze’s ‘Book of Tao.’ If there is one book that claims to interpret for us the spirit of the Orient, or that is necessary to the understanding of characteristic Chinese behavior, including literally ‘the ways that are dark,’ it is the ‘Book of Tao.’
“For Lao-tze’s book contains the first enunciated philosophy of camouflage in the world; it teaches the wisdom of appearing foolish, the success of appearing to fail, the strength of weakness and the advantage of lying low, the benefit of yielding to your adversary, and the futility of contention for powers.
“It accounts in fact for any mellowness that may be seen in Chinese social and individual behavior. If one reads enough of this book, one automatically acquires the habit and ways of the Chinese.
“I would go further and say that if I were asked what antidote could be found in Oriental literature and philosophy to cure this contentious modern world of its inveterate beliefs in force and struggle for power, I would name this book.”
Contradictions
The Western-trained mind may not easily appreciate the deep wisdom of Lao-tze’s book because it is full of apparent logical contradictions. For instance, it teaches that “the Tao never does, yet through it everything is done.”
Then it continues:
“To yield is to be preserved whole. To be hollow is to be filled. To be tattered is to be renewed. To be in want is to possess. To have plenty is to be confused.”
Lao-tze’s words often sound similar to the Japanese Zen master’s use of the Koan to teach others. The Koan is an apparently contradictory statement whose meaning cannot be gleaned through logical analysis.
A typical Koan goes like this: “Can you hear the sound of one hand clapping?”
‘Wisest of men’
About 450 years BC, Socrates, the great philosopher who was Plato’s teacher, said he was considered the wisest of men by the Oracle at Delphi because he only knew one thing and that he knew nothing.
Lao-tze seems to echo Socrates’ words when he said in “Tao the Ching”: “Who knows that he does not know is the highest, who pretends to know what he does not know is sick minded.”
Something reminiscent of Christ’s teaching in the New Testament is in this passage from Lao-tze’s book:
“He who reveals himself is not luminous; He who boasts of himself is not given credit; He who prides himself is not among men.”
It was Lao-tze who said, “A journey of a thousand miles begin with a single step.”
The “Book of Tao” deals with the inner world, the world of causes, and not with the external world, the world of effects. Understanding this is the key to understanding the Tao.
The next Basic ESP Seminar will be held Nov. 23-24, 9 a.m. to 5 p.m.; tel. 88107245, 0998-9886292
After a successful tour in the United States, the Philippine Ballet Theater (PBT) presented its crowd-pleasing classics and contemporary ballets on home ground at the Cultural Center of the Philippines. “Encore: the Best of PBT” showed the range of bravura, lyricism and national pride expressed by a strong generation of dancers.
One of its signature pieces is “Vinta,” choreographer Gener Caringal’s homage to the outrigger boat in Southern Mindanao. It never fails to impress the audience with the dramatic use of fabrics, the female corps playing with the tubular malong—appliquéd with geometric patterns of the sails, the strong angular movements, and the overhead lift in the pas de deux.
In the classics, Jared Tan, formerly with the Atlanta Ballet, and Veronica Atienza performed elegantly in the demanding “Don Quixote Pas de Deux,” which brought the house down.
Dazzling footwork
Atienza dazzled with her fleeting footwork, the coquettish turn of the shoulders, the long balances, expansive grace and effortless multiple pirouettes.
Tan impressed the audience with his soaring beaten jumps, his maturity, and his timing in catching Atienza in the fish dive.
The lyrical Kim Abrogena reprised her role in the “Merry Widow” pas de deux with Jimmy Lumba as her partner. Abrogena danced with delicate rapture while Lumba was a tender and attentive partner. The only problem with this number was the shadowy lighting which tended to hide the dancers’ facial expressions.
Regina Magbitang and Dominador Delmo flew through their solos with great enthusiasm, pulling out powerful moves. Magbitang threw off sharp fouettés (whipped turns) in different directions. Delmo’s leaps were suspended long enough to do a scissor split with his legs.
Tony Fabella’s “Sa Entablado” was a series of solos, duets and ensemble work set to Filipino music that recalled the big band era at the turn of the 20th century. The late choreographer was noted for his musicality and phrasing.
Standout
At the matinee, the dancing was efficient but not compelling. The dancers lacked the panache that matched the music. Amid the throng, Mikaela Samson stood out with her stylistic nuances and expressive upper body.
The ultimate show piece was PBT artistic director Ron Jaynario’s “Serye at Sayaw,” a story about a girl who gets entangled in different relationships. The OPM music resonated with the audience.
Abrogena, the lead, performed with warmth, fluidity and an all-encompassing passion for life. Her love interest, Matthew Davo, threw himself into the role with care.
Jaynario always challenges his dancers. Certain musical passages were choreographed as moments to display tricks.
Typical of his work, “Serye” was rife with acrobatic partnering such as swinging a woman over a man’s shoulder or turning her upside down and writhing around the man’s body.
Magbitang was tossed and twirled in the air by Delmo and Mark Joseph Pineda in “Hanggang sa Dulo ng Walang Hanggan.” Instead of drama and lyricism suggested by the music in “Kailangan Kita,” Jaynario created a complex pas de deux to match strength and boldness of Gladys Baybayan and Julafer Fegarido.
Our favorite was Tan’s solo “Ano’ng Nangyari sa Ating Dalawa” where he expressed dynamic contractions, suspended movements and emotional resonance with the music.
Although PBT’S matinee was impressive, there were some rough edges in the dancing, and the lighting design was dull.
Nonetheless, the combination of familiar Filipino music and classical bravura is always a surefire hit.
PBT will present “The Nutcracker” Nov. 23, 3 and 8 p.m., and Nov. 24 , 3 p.m., at CCP. Tel. 86328848, 88919999