All tagged Joan Emery Sia
The phrase “pas de deux” in classical ballet translates to “step of two” and it is usually performed by a female and a male dancer.
The show aims to raise funds that will help the two groups sustain their respective ballet scholarship programs.
Ballet Manila joined the nation in celebrating the Philippine Independence Day through a dance concert organized by the National Commission on Culture and the Arts and the SM Mall of Asia.
In his welcome remarks, Ambassador Haneda congratulated Ballet Manila on the success of its recently concluded 23rd season, saying how fortunate he was to have watched the final show, Deux, and to have seen the five Japanese dancers perform in it.
Second of a series: Inspired by the 10-year challenge, the Ballet Manila Archives searched for images featuring some of the company’s artists during their earlier dancing days and more recent ones showing what they look like today.
While he is not yet leaving the company, Rudy De Dios will be relinquishing his position as principal dancer when the next season begins in September.
A reverence typically looks like a bow (for males) and curtsy (for females).
In this clip are some of the most memorable moments of Deux.
In this YouTube age where one-minute clips of dancers spinning and executing complicated aerial acrobatics account for most people’s exposure to ballet, teaching the young ballerinas to slow down and focus on deliberate movements was a challenge.
A budding choreographer named Michael Fokine – then only 26 – created a ballet that broke away from the classical ballet tradition championed by Marius Petipa.
If the journey of the Vaganova ballet method were to be charted from its beginnings in Russia, it would show an unlikely destination in the Philippines that then branches out to other points in the Asia-Pacific region.
Featured in this brief rehearsal clip are principal dancers Joan Emery Sia and Romeo Peralta, soloist Nicole Barroso, and company artist Rissa May Camaclang.
In this peek into the rehearsals, principal dancers Joan Emery Sia and Romeo Peralta take on the lead roles of the production.
“Everyone has something to offer. But not everyone looks interesting.”
Hand in hand, on the edge of the sand, they danced by the light of the moon.
Two years since its premiere, prima ballerina Lisa Macuja-Elizalde's Cinderella returned to the stage and enchanted its audience once again.
Ballet Manila's latest interpretation of the popular story uses pointe shoes instead of glass slippers, but all the classic elements remain in this pre-holiday spectacle.
Joan believes that Cinderella enchants everyone in the theater in a special way.
Ballet Manila artistic director Lisa Macuja-Elizalde is excited over the return of Cinderella, her first full-length choreography which premiered in 2016.
Among the most recognizable figures in art, Cinderella – with her glass slipper – has been featured repeatedly and prominently in literature, film, painting, music, dance, and fashion all over the world.