Soloist John Balagot: Ready and raring to dance onstage again
One of John’s last performances before lockdown was also among the most memorable as he and Ballet Manila colleague Mark Sumaylo performed Gerardo Francisco’s OFW (Balikbayan) in their hometown of Cagayan de Oro.
By Jv Ramos
Learning several new roles, taking on more projects, and working harder as is expected of a dancer at his level – these are just some of the challenges that a new soloist faces. But because the coronavirus hit the country just days after his promotion – announced before the audience at the close of Ballet Manila’s 24th season in March 2020 – John Balagot found himself taking on a different set of challenges.
John Balagot, promoted to Ballet Manila soloist just days before the lockdown was declared in March 2020, says working out on his own was a major adjustment for him. In his condo unit, he has been using a barre that he himself made.
First, there's the learning how to get through the day without stepping into the ballet studio, which this Cagayan de Oro-born talent found very disorienting. "Sobrang nanibago talaga ako nang ipinagbawalan na kaming pumunta sa ballet studio. Iyan lang kasi ang alam naming way. Ang gusto lang namin sa aming araw-araw ay mag-class o kaya naman mag-rehearse. Nang nawala ang studio, kinailangan kong matuto mag-warm up at mag-keep in shape na ako lang araw-araw." (It was a major adjustment for me when we were told we couldn’t go to the ballet studio. Going to the studio is our only way of life. We, dancers, basically just want to take classes or rehearse. Without the studio, I had to learn how to warm-up and keep my body in shape all on my own every day.)
While these activities can be done alone, John had to adapt as he's usually surrounded and fueled by his teachers and fellow dancers. Not to mention, being away from the studio just made it difficult for any dancer to get into the right headspace. On top of these, this Ballet Manila soloist had to move to another residence during last year’s quarantine.
To cope with the drastic changes, he drowned himself in Netflix documentaries during the early weeks of community quarantine. "Pinanood ko ang lahat na tungkol sa Japan. Matagal na ‘kong interesado sa culture nila at ang laki ng respeto ko sa kanila. At nang napanood ko ang iba't ibang palabas, mas lalo akong nagandahan sa Japan." (I watched everything that had to do with Japan. I have long been interested in Japanese culture and have high respect for the Japanese. And when I watched the different documentaries, I found Japan to be even more fascinating.) In addition, the travel and culture documentaries allowed him to look forward to a post-COVID world wherein he himself could explore and experience that country.
John’s pet poodle, Luke, has been a great source of comfort for the danseur during the past year.
John also found comfort in spending more time with Luke, his playful black poodle. "Pinapasyal-pasyal ko siya araw-araw, at tuwing nakikita ko siyang nag-e-enjoy, gumagaan ang loob ko! Sumasaya ako tuwing nakikita kong nag-e-enjoy si Luke." (I'd take him out to explore every day. And every time I would see him enjoy things, I forget my worries. I just feel happy whenever I see Luke happy.)
This danseur actually considered heading home to Cagayan de Oro when the life-changing announcement that all live shows were to be cancelled was made. "Alam ko kasi na kung mawawala ang sayaw, wala akong ibang masisimulan dito sa Maynila. So nag-pa-plano na ako kung ano ang gagawin ko pagbalik sa amin." (I just knew that if I wasn't going to dance, there was nothing else that I could make a career out of here in Manila. So I was really planning on what I could do back home.) Among his ideas was to revive his days of teaching, including basic pilates.
"Nag-pa-plano talaga ako noon, pero umaasang may ibibigay na opportunity sa akin na related sa sayaw." (I was seriously planning about what to do outside ballet, but at the same time, I was hoping that I would still get an opportunity related to dance.) Since the performance season was suspended, the dance-related opportunity that came was teaching and doing demo work virtually for the Lisa Macuja School of Ballet.
As the evil Atheos in Rudy De Dios’ Carmina Burana, John tries to tempt people to join him in the dark side. Photo by Giselle P. Kasilag
"Ang sarap po magturo," declares John, although he admits that it demands more effort from him. As one who began his professional ballet career late, this talent felt more comfortable working with modern dance classes. "Nahihirapan ako sa mga ballet classes. Hindi pa po kasi ganu’n kalawak ang ballet ko. Feeling ko, natututo pa lang ako magturo ng ballet. Challenging siya pero malaking opportunity pa rin ito para sa akin." (I find the ballet part hard. I still have a lot to learn when it comes to ballet and teaching it. I find this challenging but it's a great opportunity for me.)
John recognizes that while helping out at the Lisa Macuja School of Ballet is not what he had expected out of his year 2020, he saw this as a good time to learn more, as well as stay close to the world of ballet. "Kung dati, ang buhay ko ay bahay-studio-stage araw-araw. Ngayon naman, class-kain-Luke na ako lagi," he says laughingly. (Before, my daily life was all home-studio-stage. Now, it's always class-eat-Luke.) Though content with this busy “new normal” schedule (which recently involved daily company classes taken online), he still yearns to physically reunite with his colleagues for long classes, rehearsals, and of course, performances.
Though more used to modern dance, John has had his share of performing the classics such as his turn as Tybalt in 2018’s Romeo and Juliet Suite. Photo by Giselle P. Kasilag
"Ready na talaga ako bumalik sa stage," John confidently replies when asked if he's prepared to face a live audience again. "Ipinagdadasal ko nga na i-announce na ni Ma'am Lise [Lisa Macuja Elizalde, Ballet Manila artistic director] na start na ng season. At kung matuloy, sana masama ako sa cast. Gustong-gustong ko na kasi ulit maranasan ang process ng matuto, mag-rehearse at mag-perform." (I'm so ready to dance again on stage... I'm actually hoping that Ma'am Lise would announce the start of the season soon. And when this happens, I really hope that they cast me. I really want to experience the process of learning, rehearsing, and performing my assigned roles again.)
As one who's always curious to learn more, John also expresses the hope that he can continue his streak of playing interesting characters. Among the roles he “inherited,” he was very effective as the laughable villain Ahab in Ang Mahiwagang Biyulin and as the wicked stepmother in Lisa Macuja-Elizalde’s Cinderella. But he really stepped up his game when he was cast as the evil Atheos in Rudy De Dios’ debut full-length choreography, Carmina Burana. During rehearsals, observers noted that John still seemed to be holding back. But thanks to the encouragement of his mentors, notably rehearsal master Jonathan Janolo, he finally shed all his inhibitions onstage and took Atheos to a formidable level.
In the future, he wishes that he will be given similarly meaty characters to perform. "Gusto kong maranasan ang iba't-ibang roles sa career ko. Pero masaya na ako kung ma-cast ako sa kahit anong role. One hundred percent ready na talaga akong sumayaw." (I want to experience dancing different roles in my career. But I would be happy with any role I am given. I am really 100 percent ready to dance.)
On a rare evening out, a masked John takes the opportunity to try some jumps and new moves. Photo by Mark Sumaylo
