Review of Women’s Studies 21 (1): 54-73 CARVING OUT A SPACE FOR CONTEMPORARY DANCE IN THE SOUTH Agnes Locsin’s Continuing Legacy1 Ruth Jordana Luna Pison Abstract This essay follows the trajectory of Locsin’s choreographies as an artist initially based at the “center” of the arts in the Philippines, and later as an artist who decides to return to her home town in the South. One sees in the neo-ethnic and urbanative choreographies of Locsin how dance articulates the connections between milieu, motivations, and materials. While her neo-ethnic works resonate themes of nature, rituals, Asian arts, ethnic dances, and history, her urbanative choreographies are closer readings of what afflicts the Filipino of today, in particular the urban Filipino. Both the neo-ethnic and urbanative paths are proofs of Locsin’s probing artistry; the two are not separate and distinct but intertwined paths. This essay likewise discusses various issues such as “cultural ownership” and “authenticity” which have surrounded the works of Locsin over the years. Ultimately, her choreographies point out to how dance is not only a language in which we write and re-write the past but is also an eloquent expression of the present. Artists become veteran artists only by making peace not just with themselves but with a huge range of issues. You have to find your work all over again all the time, and to that you have to give yourself maneuvering room on many fronts—mental, physical, temporal. Experience consists of being able to reoccupy useful spaces easily, instantly. David Bayles and Ted Orland, Art and Fear: Observations on the perils (and Rewards) of Artmaking O ne cannot write about the former artistic director of Ballet Philippines II (1989-1990) and later of Ballet Philippines itself (1994©2013 UP Center for Women’s Studies, University of the Philippines ISSN 0117-9489