Learning On Pointe

MANILA, Philippines — You wouldn’t miss it if you are heading north along the Radial Road 10 in Tondo. The purple structure built from recycled shipping containers sitting by the bank of a polluted river is jutting out in an area cramped with low rises and tenements not far from the former Smokey Mountain landfill.

Inside this purple oddity is a small dance studio where children from the surrounding community can take lessons in music and the arts, an advocacy of the Purple Center Foundation (PCF), the building’s owner. Hence, the color purple. PCF recently received much-needed support from Mercedes Zobel, a trustee of Ballet Philippines (BP), which led to a winning partnership: BP is making a big bet that this humble facility located at the heart of Tondo’s slums can train future professional dancers who will one day grace the world’s stage.

Rubylee Gomez, Ballet Philippines Dance School (BPDS) director, told STARweek that they took over dance classes at PCF a little over a year ago and the response from the community has been very encouraging.

In its first audition held at the school, 44 kids were accepted as dance scholars, some of whom were cast in Ballet Philippines’ production of the “Nutcracker” last December.

A tradition of dance scholarship

In the world of classical ballet, whose traditions, including a long period of rigorous training and apprenticeship, remain unbroken to this day, a dance scholarship is not given lightly. It isn’t meant only to help defray the cost of training, it is also meant to find the right people who have the potential to be a dancer – a good dancer.

Victor Maguad, one of the more senior members of the dance company, auditioned for such a dance scholarship at the age of seven at the Manila Dance Center under the supervision of dance greats Luther Perez, Tony Fabella, and Eddie Elejar.

Victor Maguad, who started out as a dance scholar and who is now one of BP’s senior members, regularly teaches class  at the PCF school.

“It was actually my sister who started dancing in the family. But Tony Fabella asked my mom if she had a son who could also dance. At seven, I didnt know what ballet was. They explained to me that I was just going to dance. I didn’t even know it was an audition. They just asked me to follow the steps but I got in as a scholar,” he recounts.

As a scholar of the Center, he was given the chance to join Ballet Philippines’ production of “Shoes++” in 2000 and “Peter Pan” in 2001. He later joined the BPDS as a full scholar in 2004 at the age of 11 under the tutelage of its former school director, the late Noordin Jumalon.

Three years later in 2007, he competed in the National Music Competition for Young Artists (NAMCYA) and won third place in the Juniors Ballet category. In 2014, he was accepted as a competitor at the USA Jackson International Ballet Competition and took second place at the 1st CCP Ballet Competition held locally.

He has since essayed lead roles in many BP productions, including the Peasant Pas de Quatre in “Giselle,” the male in the “Esmeralda” pas de deux for Art of Dance and Gawigawen in “Manhid.”

“Dance really helped me a lot. I learned a lot more about myself, what I can do and what I can give,” he said. “Also, it helped my family a lot financially.”

The stereotype of the dancer as a “starving artist” is not necessarily true anymore, according to Maguad. Under the direction of National Artist for Dance Alice Reyes, Ballet Philippines is having a renaissance. It isn’t just about continuing the artistic legacy of the country’s premier dance company, but the effort in ensuring that its dancers are well compensated and have a legitimate career path.

Children from the PCF school joined the cast of Ballet Philippines’ Christmas show The Nutcracker last December, getting the chance to perform at the Main Theater of the Cultural Center of the Philippines.

At a recent high school reunion, Maguad said he was surprised to find that, at the age of 25, he was earning more than his friends who have pursued more traditional professions perceived to be more lucrative. As a dancer, he said he also receives the same government benefits that most working professionals enjoy, such as SSS and PhilHealth membership, as well as private medical insurance.

More dance scholars needed

But even with success stories like Maguad and his fellow dancers and apprentices, the dropout rate in BP’s scholarship program is high, according to Gomez.

She explains that it is difficult to sustain the interest of ballet students once they reach high school. The dance scholars stay on for a while longer or until they go to college, but at this time most of them usually start to see other possibilities or career paths.

“It’s a hard life,” she says, “not always possible to ‘live in the moment’.” Attending daily classes and rehearsals that can last well into the night as well as performing for shows on weekends calls for sacrifices that are not always “Instagrammable.” Hence, BPDS is even more active in its recruitment program, reaching out even to communities that may not have even heard of classical ballet or modern dance or jazz.

For decades, BPDS has always been based at the Cultural Center of the Philippines (CCP). It has three other schools now – SM Aura in Taguig, Greenhills Theater Mall in San Juan and Victoria Sports Complex in Quezon City.  BP has an outreach program to teach dance at the Mabuhay Temple in Pasay City and at the Pasig Youth Development Center.

“We also have two satellite schools in Manila (Little Children School) and in Makati (Little Clarion International Preschool),” Gomez adds.

With its growing number of offsite schools and community partnerships, does BP have enough teachers to handle ballet classes in each of these schools? “Yes,” she says. “Aside from our own teachers, dancers and scholars, more BP alumni are coming forward to teach in our schools.”

The 49th Season Summer Dance Workshop that starts this week, for example, will have more former BP dancers as faculty compared to the previous years. Among those who have committed to teach are Jeng Halili, Butch Esperanza, Gina Katigbak Garcia, Perry Sevidal, Edward Malagkit, Annette Cruz Mariano, Effie Nanas and PJ Rebullido.

Early success  

Dance teaches the kids discipline and dedication, and helps them develop a greater sense of self worth and what they can achieve in life.

This early, BP’s involvement with PCF is already showing results. Two of its students – Rolly Fernandez and Lowell Peco – have been accepted to the summer dance workshop and as members of the BP Youth Ballet with a full season scholarship from April 2018 to March 2019.

“Ultimately, it is the artistic director who selects the dancers for the school and the professional company,” Gomez explains. “But for all its future dancers, BP is looking to train young people who are talented, creative, hardworking and passionate. These traits are crucial to meet the demands of a professional career that thrives on excellence. The BP scholarship program sets the pace towards that path.”

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The BPDS Summer Dance Workshop runs from April 10 to June 10 at the CCP and its branches at SM Aura, Greenhills and Quezon City. Culminating recital is on June 9 and 10. Visit ballet.ph for more information.