ALTHOUGH a certified bench-warmer, I missed the grandeur of that annual togetherness via a ballroom dance party traditionally held in our barangay covered court—courtesy of local senior citizens. I long for the youthful romanticism and energy-boosting mood that those Tango dance rendition rekindled performed by the Youth Once with such zest and elegance that could give the Young Ones a run for their money. It is noteworthy that the party-goers are the ordinary elderly folks of the community. But they care and keep the well-being of our barangay over and above their individual interest. Indeed, their socialization on the dance floor is coupled with the discharge of their social responsibility as any amount that could be raised during the affair is used to undertake worthwhile community projects.
Anyway, I am cocksure there is no intent to desert the dance floor for good. Yet, the three-year unexplained furlough in the holding of the annual golden togetherness achingly flashes portraits of couples with their arms, hips and legs—indeed their entire bodies, moving with rhythmic subservience to the classical melody of Tango music with such precision and symmetry: punctuated by long gliding steps and dips. Incidentally, they may not represent the classic example of their crops during their stardom days. But it can be fairly said that matinee idol Leopoldo Salcedo and comedian king Dolphy, together with their couples, embodied the innate charm and dignity associated with Tango. And so, it is my hope that, if only for the social and amusing values of Tango, the traditional pre-Christmas annual senior citizens’ ballroom dance party will be revived.
This is not to say that I am not amused watching that now popular Shark Dance or some say Crocodile Dance indiscriminately performed by Kids and the elderly alike, including high-ranking public officials. But there is an obvious distinction: Tango exudes charm and respectability. While the shark/crocodile dance craze is sexist and evokes greed. Anyhow, dancing, regardless of genre, is a salutary physical exercise provided it is executed in pairs. I cannot help imagining a person in formal attire dancing the Tango or Cha-Cha in the middle of a wide Covered Court alone.
Coincidentally, this is a season where the term CHA-CHA is frequently uttered without referring to it as a form of dance. That in view of the current noise emanating from the House of Representatives to effect changes in the Constitution, the term CHA-CHA is understood to be the abbreviated term for Charter Change. Meaning the proposal to amend or revise the Constitution. As repeatedly said, assuming that the Constitution necessitates retro-fitting to strengthen its effectiveness as an instrument to achieve strangely no less than its still unrealized social and economic justice provisions, such task requires the full-cycle imprimatur of the Filipino people as repository of sovereign power. Concededly, this envisioned constituency consent can be properly addressed by holding a Constitutional Convention. This CHA-CHA mode requires the initiative of Congress, the approval of which needs separate voting inherent in a bicameral legislature. Such that, from the initial stage to the nitty-gritty of electing the CON-CON delegates, all sectors of Philippine Society are afforded the unbridled opportunity in sharing their views on what to delete, retain and/or add in a proposed New Constitution. In fine, being a true representation of the Filipino’s sovereign will, such Supreme Covenant is worthy of their unqualified obedience and protection thus, come calm or troubled waters. Thus, whether the occasion calls for the execution of Tango or Charter Change, the propriety and acceptability of partnership and collaboration are indispensable. Dancing alone in the street! What can you say?