After winning AGP’s Youth Grand Prix Award, Gelo De Leon says he’s in ballet to stay
Juan Angelo “Gelo” De Leon’s big moment in Hong Kong: Being named as Asian Grand Prix 2023’s Youth Asian Grand Prix Award winner, and receiving his trophy and prizes from (from left): So Hon Wah, AGP chairman; Garry Trinder, president of jury; and Wong Wai Keung William, AGP CEO. Photo courtesy of AGP
By Jv Ramos
Ever since Ballet Manila scholar Juan Angelo “Gelo” De Leon learned of the Youth Grand Prix Award given by the Asian Grand Prix International Ballet Competition (AGP), he always thought that this rare honor would be a nice recognition to attain as it's a testament to a young dancer's mastery of ballet. But while talented and determined to put in the hours, this ballet-loving teenager never expected to take home the prestigious award in December 2023.
Although he secretly dreamed of winning the Youth Asian Grand Prix Award, Ballet Manila scholar Juan Angelo De Leon couldn’t believe it when it actually happened last December. Photo by Giselle P. Kasilag
He recalls the moment when the Youth Grand Prix award was announced. "Dahan-dahan akong lumapit nu’ng tinawag ang pangalan ko. Hindi kasi ako makapaniwala. Marami pa kasing mga areas sa sayaw ko na puwede ko pa i-improve, at kapag competition kasi, puwedeng mabigay ng dancer ang lahat-lahat, pero sa huli, ang judges ang bahala, at as competitors, kailangan naming tanggapin ang desisyon nila." (I walked very slowly to the center when they called my name. I couldn’t believe it. I knew there were still so many areas in my dancing that I could improve on, and in competitions, no matter how much you give, at the end of the day, it’s still the judges’ decision, and we, as competitors, would have to accept that.)
No stranger to ballet competitions – he has been a regular participant in AGP since 2019 – Gelo points out that his experience in the 2023 AGP was rather tough. Held in Hong Kong and involving dancers from several major Asian cities and Sydney, the competition had, as our subject would describe, "maraming magagaling na dancers talaga at deserving manalo". (There were many good dancers and all deserving of awards.) He, therefore, had to focus as hard as he could to avoid caving in under intense pressure, address his weaknesses, and most importantly, get the most out of the experience.
At the Lisa Macuja School of Ballet recital last December, Gelo dances the Colas variation from La Fille Mal Gardee which would also be his classical competition piece at the Asian Grand Prix. Photo by Giselle P. Kasilag
"Parehong mahirap ang online at in-person na competition. Kung online kasi, inuulit-ulit mo ang pag-film hanggang sa makuha mo ang perfect take, kaya pagod na pagod ka,” notes Gelo, who continued participating in AGP’s competitions during the years of the COVID pandemic. “Sa in-person naman, hindi lang ang pagsayaw ang aalalahanin mo. May mga klase na kung saan may judging din na nangyayari at ’yon nga, makikita mo at makikita ang competition kaya sobrang kabado ka." (Both online and in-person ballet competitions are difficult. If it’s online, you’re bound to repeat and repeat the dance until you get the perfect shot, so you end up very exhausted. For in-person competitions, it’s more than just dancing your numbers. You have to take classes, which are also judged, and you keep seeing the other competitors, which can be very daunting.) Here, Gelo adds that in-person competitions also meant waking up extra early as the Lisa Macuja School of Ballet delegation had their own warm-ups, headed by Teacher Eileen Lopez, to do, which he sees as a big help in prepping them for AGP classes and the different rounds.
"Very grateful po ako sa training na ibinigay sa amin at sa lahat na rin ng kaibigan ko na nag-push sa akin para makamit ko ang award na ito,” expresses Gelo, who recognizes that it took a lot of effort from his peers for him to jump from placing bronze at the 2022 AGP in Bangkok to taking the top youth prize at the 2023 AGP. (I’m very grateful for the training I’ve been receiving and for all my friends who pushed me to keep improving so I can achieve this.)
Gelo (rightmost) and fellow scholar John Stanley Alamer (left, foreground) join the cast of older and more seasoned dancers in Gerardo Francisco Jr.’s Ibong Adarna (2023). Photo by Giselle P. Kasilag
Asked what he did differently, Gelo, who performed the Colas variation from La Fille Mal Gardee, notes that he focused more on his artistry. He articulates, “Mas binigyan ko ng attention ang mga smaller steps sa sayaw ko at hindi lang ang grand moves. Alam ko na importante ’yon, pero dapat bigyan din ng pansin ang smaller steps. Kinalimutan ko rin na may nanonood sa akin at nasa isip ko rin na ngumiti at ngumiti!” (I gave more attention to the smaller steps in my variation and not just the grand moves. While those big steps are important, I also needed to polish the smaller movements. It also helped to not be conscious of those watching and to keep smiling and smiling.)
Gelo also confesses that he did have a lot of nervous energy, and to deal with the situation, he did his usual thing of keeping silent and praying before stepping on stage. “Sumusunod ako sa payo ng mga teachers na huwag panoorin ang ibang competitors, dahil nakakakaba talaga ito. Hindi rin kasi tama na i-compare mo ang sarili mo sa ibang dancers. Iba-iba tayo ng technique at pati na rin ng work ethic.” (I follow the advice of teachers to not watch my fellow competitors, because this can really make you nervous. I also know that it’s not helpful to compare yourself with other dancers. We all have different techniques and even work ethic.)
Competing for the first time in 2019 with Bluebird Variation, Gelo is joined by “Teacher Shaz” – Ballet Manila’s late co-artistic director who praised him for his clean lines, dedication and drive.
So, what can this multi-awarded danseur advise to youngsters who are interested in competing? Gelo stresses the importance of preparation, which for him begins during one’s early years in the studio. “Kailangan focused ka sa mga klase at committed ka na matuto. Kailangan mag-commit din sa lahat ng klase at rehearsals, dahil dito lang talaga tayo mag-i-improve.” (You have to be focused in classes and committed to learning ballet. You also have to give your all in classes and rehearsals, since these are avenues for you to improve.)
Only ten years old when he started his training with the Lisa Macuja School of Ballet as a Project Ballet Futures scholar, Gelo remembers his body hurting all over even if their early classes were essentially all stretching. “Kahit masakit, hindi dapat mag-quit agad.” (Though it hurts, this doesn’t mean that you should quit.) He echoes the same thing for competitions that one doesn’t do too well in. “Kung matalo, hindi dapat mag-quit o isipin na hindi ka magaling sa ballet. Dapat alamin kung saan pa puwede mag-improve at doon ka magsimula.” (When you lose, you shouldn’t quit or think that you’re no good in ballet. You should identify the areas you can improve on and start from there.)
Wise beyond his years, Gelo expresses that his art really takes time to master, so one would have to really commit time to it. In his case, he has been a dedicated scholar of the LMSB for six years, which has meant having to go straight to the studio even on a busy school day, having to endure several months of home-based training through online classes during the pandemic and more recently, having to perform multiple roles in Ballet Manila’s season performances.
Gelo dances as a young prince in Lisa Macuja-Elizalde’s Sleeping Beauty (2020), with a bevy of fairies behind him at the palace. Photo by Erickson Dela Cruz
“Nakakalito sa akin noong una ang pagsayaw ng maraming roles, lalo na ang mga quick costume changes,” comments the teenager as he recalls his Ibong Adarna experience. (At first, I found dancing multiple roles confusing, especially the moments when you had to do quick costume changes.) He observes that in company performances, a dancer can’t just be self-conscious; one would have to be very aware about what everyone on stage is doing, so he doesn't miss cues or stand out awkwardly from a polished corps de ballet.
“Sa mga partnering naman, prepared akong gawin ito dahil nakapag-pas de deux naman kami dati. Pero alam ko na isang point of improvement ko as a danseur ay magpalakas pa ng katawan. Nasa lalaki kasi talaga ang work sa partnering.” (Regarding partnering, I’m ready to do this since I’ve experienced dancing pas de deux. But I do know that this involves another key area of improvement as a danseur. I need to strengthen my body more because most of the heavy lifting is done by the male dancer.)
As a Project Ballet Futures scholar, Gelo enjoyed learning and dancing ballet from the very start. Photo by MarBi Photography
He enthuses, “Sobrang big blessing ang taong 2023 sa akin. Bukod sa kinalabasan ng AGP, ang dami ko ring natutunan sa mga company shows at iba’t ibang experiences. Sobrang nag-lu-look forward ako sa lahat pa ng performances at opportunities na parating! Excited ako sa 2024!” (The year 2023 was such a big blessing! Aside from winning in AGP, I really learned a lot from participating in company shows and other experiences. I’m really looking forward to all the performances and opportunities to come. I’m very excited for 2024!)
While an eager beaver, this young dansuer stays grounded and keeps in mind that big moments in ballet are only possible if he takes classes well. “Dapat tuloy lang pag-focus sa klase. Dapat tuloy lang ang training at pag-work sa aking artistry.” He even adds that patience and being careful are part of a young dancer’s journey. “Hindi rin dapat madaliin ang training. Kapag bata, dapat dahan-dahan lang at mag-focus sa pagpapalakas. Hindi puro tricks agad dahil baka ma-injure lang at mapapaikli ang career.” (I should continue being focused in my classes. I should also keep training and enhancing my artistry.)
Asked to comment on Gelo’s six-year journey in dance, Ballet Manila co-artistic associate Gerardo Francisco Jr. shares that since our subject was ten, one could already see Gelo’s potential to excel in ballet, since he had the ideal qualities teachers would seek. “He has great technique, beautiful lines, beautiful physique… It was a big help na sinasali siya sa mga competition at an early age. Nahasa ’yung talent ng bata at bumilis ang improvement, dahil dito at sa training.” (It was a big help that he entered competitions at an early age. His talent got honed and his improvement was quick because of this and consistent training.)
Basilio in Don Quixote was once his dream role, but Gelo now finds Prince Siegfried in Swan Lake more to his liking and wishes he can one day dance the part. Photo by Giselle P. Kasilag
Always one to bring out the best in his students, Gerardo also points out that Gelo’s best performances are yet to come. “He needs to work on his artistry, pero maaayos pa ’yan; bata pa naman siya eh. Who would have thought na from a kid na humawahak lang ng trumpet before, at par na with the company.” (His artistry can still be improved since he’s still young. Who would have thought that from a trumpet holder before, he’s now at par with company dancers.)
The co-artistic associate concludes that Gelo, along with his co-scholar and AGP silver awardee John Stanley Alamer, are part of the next generation of Ballet Manila’s danseurs. “As long as they're serious in what they do and they won't stop from learning and improving, the legacy of BM will continue to flourish.”
