The Ballet Manila Archives is the repository of documents, print, photographic, audio and video materials and memorabilia relating to the history of Ballet Manila and the life and career of its founder, prima ballerina Lisa Macuja-Elizalde. This site is powered by Ms. Elizalde and Project Art, Inc.
Ballet Manila soloist Jessica Pearl Dames is not one to back down from a challenge – especially when it involves dance.
The term “Ballerina” was originally a title given to the principal female dancer of a ballet company.
Unable to come together, the dancers of Ballet Manila have devised their own workout plans to stay in shape despite the lockdown.
Every day brings a chance for you to draw in a breath, kick off your shoes, and dance.
Ballet Manila principal dancer and resident choreographer Gerardo “Geri” Francisco is always on the go. Not even the enhanced community quarantine can keep him still.
For Ballet Manila company artist Sean Pelegrin, having to stay indoors for hours on end has meant getting the chance to improve his skills in videography and photography – two hobbies that he wants to pursue more seriously.
Using his white Prisma colored pencils, he drew a health professional wearing a mask on a small sheet of black cartolina,
Dance when you’re broken open. Dance if you’ve torn the bandage off. Dance in the middle of the fighting. Dance in your blood. Dance when you’re perfectly free.
“En dedans” is a classical ballet term describing an “inward” direction.
Expect the unexpected. If there’s anything that Ballet Manila artistic directors Lisa Macuja-Elizalde and Osias “Shaz” Barroso have learned from its just-concluded 24th season, it is this.
Love or material comfort? Ballet Manila artistic director Lisa Macuja-Elizalde explored this passionate conflict in her latest choreography,
The eternal battle of good versus evil set to the dramatic music of Carl Orff is at the heart of Rudy De Dios’ Carmina Burana.
Let us read; and let us dance; these two amusements will never do any harm to the world.
After her successful Princess Trilogies, Ballet Manila artistic director Lisa Macuja-Elizalde shifts her focus from fairytales to tragedy.
Tackling the piece and giving Ballet Manila its own version of Carmina Burana is a dream come true for the young choreographer who has been praying for this opportunity since he first heard the music decades ago.
A ballet bun is the traditional hairstyle worn by female dancers.
Ballet Manila artistic director Lisa Macuja-Elizalde makes an abrupt turn as she tackles the tragic tale of La Traviata in her follow-up choreography.
The Swan, the Fairy and the Princess was a fitting finale to Ballet Manila’s 13th season and a grand tribute to the man whose ballet music will live forever.
The former principal dancer of Ballet Manila has given the dramatic music of Carl Orff a new interpretation by fusing his classical training with contemporary movements.
