By Susan A. De Guzman

“Teacher Shaz helped me become the teacher that I am now.”

Sofia Sangco-Peralta, former Ballet Manila scholar-turned-ballerina and long-time faculty member at the Lisa Macuja School of Ballet, credits Osias Barroso Jr. for how she approaches the discipline of teaching. “He is meticulous in positions, blocking, and getting the steps precisely. He is demanding because he sees everything, and I value it more now that I'm teaching how tough yet compassionate he is.”

Similarly, Eileen Lopez  has glowing words for Shaz who, as a danseur, was also teaching her and other young colleagues in Ballet Manila back when the company opened in 1995. “Shaz is one heck of a teacher. He made sure that we would stick to the Vaganova style and that BM would always keep the original choreography of the classics. He has helped Lisa [Macuja-Elizalde] a lot in teaching and disciplining the dancers.”

Eileen, who is now BM’s co-artistic associate and also a veteran faculty member at the school, marvels at how Shaz would come up with combinations to teach in class. “May sense from the very first barre exercise up to the last jump.”

Sofie and Eileen are just two of the people sharing their recollections of Shaz in the exhibition, Osias Barroso Jr.: Ballerina’s Prince, which coincides with the tribute show Dancing for Shaz to be held on October 7 at Aliw Theater. The show brings together 22 groups led by Ballet Manila in a celebration of Shaz’s life and work in dance. The exhibition meanwhile, which will be at the Aliw Theater Lobby, tackles multi-faceted Shaz as a dancer, partner, choreographer and teacher while the segment Moments with Shaz features memories from former students and colleagues.

Brian Sevilla, former Ballet Manila company member and now with the New Jersey Ballet, cites the lessons imparted to him by his mentor. “He taught me how to not take things for granted. That not everything will come your way even if you're a skillful dancer, if there's no hard work and determination. He also told me not to be satisfied about winning, to celebrate it then move on because the next tasks after winning are more important.”

Jonathan Janolo, a Ballet Manila scholar who rose to being Shaz’s assistant rehearsal master and then became rehearsal master himself, avers: “What has really stayed with me up to now is his constant reminder: Don’t get bored as a teacher. Para sa kanya, kailangang paulit-ulit mong ibigay ang same exercises sa class, ituro ang same movements sa rehearsals… until the dancers get it and become good at it. Maiksi at mahaba ang pasensiya niya at the same time. Sometimes, he would get frustrated, pero mas malakas ’yung dream niya for you that you can learn, that you can do better.”

Principal dancer Gerardo Francisco Jr. admits that he has imbibed many things from Shaz particularly when it comes to teaching. “I can still remember that he was bringing a blue book to every class, full of notes from different classes with different teachers. He would always take down notes and log it in his blue book. He would always come to class prepared by creating his classes ahead of time. I admit, I adopted this trait from him, and until now, I still do the same practice – listen-observe-write-apply.”

Soloist Jessa Balote considers herself fortunate to have been under the tutelage of Shaz since she started out as a Project Ballet Futures scholar and credits him for turning her into the strong ballerina she has become. For Jessa, there’s no greater reward than when a teacher acknowledges a student’s achievements. “Lalo na ‘yung sumayaw kami ni Elmo (Dictado) ng Grand Pas Classique sa Aliw, grabe ‘yung palakpakan at ‘Bravo!’ nila Ma'am Lise at Sir Shaz. Nagustuhan niya ‘yung performance namin at prangka kung magsalita si Sir Shaz kung maganda o hindi ang sayaw mo.”

Principal dancer Shaira Comeros agrees how Shaz can be thorough just so he can elicit the best from a student. “He’s very particular with musicality. When your timing is wrong, he would make this cringey face and stop the music then walk you through it until you get the correct timing. He taught me to always respect the music and rhythm in ballet. One of the greatest lessons I learned from Sir Shaz that I still carry up to this day is everything comes from the class. What you do in class will be carried into your rehearsals and from rehearsals to the stage.”

Principal dancer Romeo Peralta Jr. points out that even as Shaz had already earned his stature in ballet, he still took on the attitude of one who is a perennial student. Romeo recalls Shaz approached him when he wanted to get back in shape for a surprise special performance of Don Jose in Carmen. “He asked me if I could give him classes, and correct him and I was like, ‘What else can I correct? You are Shaz!’ ‘Marami!’ he said. ‘I want to be a student again. Check my posture and positions.’ Looking back at that time now, it's a humbling experience. This has helped me in my career. ‘Always be a student.’ No matter how successful you are, or what position you have, never stop learning.”