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Ballet Philippines
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Ballet Philippines (BP) is a ballet company in the Philippines founded in 1969 by Alice Reyes with the support of Eddie Elejar and the Cultural Center of the Philippines. Proficient in both ballet and modern dance,[1] the company synthesizes diverse dance [2] and movement forms into distinctively Filipino contemporary expressions. These include classical ballet, avant-garde choreography, traditional and modern dance, martial arts, and aerial movements. [citation needed]

Key Information

As the resident dance company of the Cultural Center of the Philippines,[3][4] Ballet Philippines is the country's flagship company in ballet and contemporary dance.[5] The company has been praised for its strong dance foundation and for the flexibility of style and exciting sense of theater.[6]

Each year, outreach and educational programs introduce audiences to dance,[7] music, and visual art. BP's official school is the CCP Dance School.

With over 400 works, Ballet Philippines' repertory is unparalleled in Asia,[3] from full-length classical ballets and internationally recognized masterworks to indigenous works of Filipino folklore and social issues.[3]

History

[edit]

American colonization paved the way for the introduction of ballet in the Philippines. In 1915, distinguished ballet dancer Paul Nijinsky performed classical ballet at the Manila Hotel Roof Garden (Dimalanta, 2006).

In 1927, Luva Adameit came to the Philippines and started a ballet school. She trained the first few ballet dancers in the country. Her dancers, sur les pointes, were inspired by local dances like the Planting Rice, Carinosa, and the Maria Clara that eventually influenced Leonor Orosa Goquingco.

From then on, ballet has thrived in the country and invited a number of foreign teachers and performers as well. It paved the way to "a receptive outlook towards the artistic values of the art form" (Alejandro, 1983). The institution that eventually became Ballet Philippines was first conceived in 1969, with the opening of the Cultural Center of the Philippines (CCP).[8] It was initially conceived by dancer-choreographers Alice Reyes (now a National Artist of the Philippines for dance), Eddie Elejar, and Tony Fabella as the CCP Summer Dance Workshop.[8] This later evolved into CCP Dance Company, which eventually became Ballet Philippines.[8]

In February 1970, the Alice Reyes Modern Dance Company premiered its debut performance at the Cultural Center of the Philippines. Its original members included dancers from the Bayanihan Dance Company, U.E. Dance Troupe and Dance Theater Philippines. In April of that year, recognizing the available time and space at the CCP as well as the need to train more dancers, the company introduced the first CCP Summer Dance Workshop which would eventually be held annually, training two to four hundred students each year in classical and modern dance. That same year, the CCP Dance Workshop and Company was launched with Alice Reyes and Eddie Elejar as artistic directors.

Artistic directors

[edit]
  • Alice Reyes, National Artist for Dance[9] (1969–1989)
  • Denisa Reyes (1991–1994/2000-2004)
  • Agnes Locsin (1995–1996/1999-2000)
  • Cecile Sicangco (1996–1999)
  • Noordin Jumalon (1999–2000)
  • Alden Lugnasin (2004)
  • Agustus "Bam" Damian III (2004–2008)
  • Alan Hineline and Max Luna III (2008–2009)
  • Paul Alexander Morales (2009–2017)
  • Alice Reyes (2017-2020)
  • Mikhail "Misha" Martynyuk (2020-Present)

Notable alumni

[edit]

See also

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Ballet Philippines

View on Grokipedia
from Grokipedia
Ballet Philippines (BP) is the preeminent classical and in the , renowned for blending Western techniques with Filipino cultural themes, , and social narratives. Founded in 1969 by National Artist and Eddie Elejar, it became the first resident of the (CCP), marking a milestone in the nation's dance history. Since its inception, Ballet Philippines has built an extensive repertoire of over 500 choreographic works, including full-length classical ballets like , neo-ethnic pieces inspired by Philippine heritage, and innovative contemporary productions addressing modern issues. As a cultural , the company has performed internationally, showcasing Filipino artistry and fostering global appreciation for Philippine while promoting national pride through its emphasis on local movement vocabularies and designs. Its mission centers on developing public awareness, appreciation, and patronage of by creating and presenting exceptional Filipino and international works in both classics and contemporary forms. Ballet Philippines also extends its impact through the Ballet Philippines Dance School, the premier training institution for aspiring dancers, offering rigorous programs in classical ballet, contemporary techniques, improvisation, and choreography, while supporting numerous scholars annually via initiatives like the Noordin Jumalon Scholarship Program. Under the artistic direction of Mikhail “Misha” Martynuk, the company continues to innovate; as of 2025, its 56th season features productions such as the full-length ballet Alice in Wonderland, highlighting its enduring commitment to artistic excellence and cultural education.

History

Origins and Founding

Ballet was introduced to the Philippines during the American colonial period (1898–1946), when Western cultural influences arrived through traveling performers and expatriate teachers, gradually integrating with local dance traditions. Early exposures included circus troupes like the Baroufski Imperial Russian Circus in 1902, which featured ballet pantomimes, and vaudeville acts that popularized classical forms. In 1915 and 1916, Paul Nijinsky, claiming affiliation with the Imperial Russian Ballet, performed at the Manila Hotel, showcasing Chopin-inspired solos in barefoot style that captivated local audiences and introduced elements of Russian ballet technique. A pivotal advancement came in 1927 with the arrival of Luva Adameit, a German-trained dancer associated with Anna Pavlova's circle, who established the Cosmopolitan Ballet school in and taught at the . Adameit trained the first generation of Filipino instructors, including National Artist and Rosalia Merino-Santos, while innovating by adapting native s like the and rice-planting motifs to pointe work, thus laying groundwork for a hybridized Philippine style. These efforts, amid growing access to international circuits via improved transportation, fostered a small but dedicated community by the mid-20th century. Ballet Philippines originated in 1969 when dancer-choreographers , Eddie Elejar, and Tony Fabella launched the inaugural CCP Summer Dance Workshop under the auspices of the newly established (CCP), attracting around 400 students for intensive training in and . This workshop served as the precursor to a professional ensemble, emphasizing the development of local talent to create a national company. By April 1970, it had formalized into ongoing annual programs training 200–400 participants yearly, providing structured education that bridged Western techniques with emerging Filipino expressions. The workshop quickly evolved into the CCP Dance Company, with its public debut as the Modern Dance Company on February 21, 1970, at the CCP Main Theater, presenting an all-contemporary repertoire that marked the first concert in the country. This performance highlighted the company's initial mission to blend rigor with contemporary innovation and Filipino cultural motifs, establishing Ballet Philippines (formally named in 1981) as a resident CCP troupe dedicated to elevating Philippine on national and international stages.

Key Milestones and Evolution

Ballet Philippines launched its first full season in , marking the transition from initial workshops to a structured professional ensemble under the auspices of the (CCP). This inaugural season built on the company's annual summer dance workshops, which began in and have since played a pivotal role in talent development by training hundreds of aspiring dancers each year in classical and contemporary techniques. By the 2010s, Ballet Philippines had expanded its to over 500 choreographic works, encompassing a diverse range from classical ballets to original Filipino-inspired pieces, while undertaking numerous international tours to venues in the United States, , and , as well as forging collaborations with global artists and institutions. These developments solidified its status as Asia's premier dance company, with performances reaching audiences worldwide and integrating Filipino cultural narratives into global stages. Key milestones include the 50th season celebration in 2019, which featured high-profile productions like Swan Lake in collaboration with Russia's Mariinsky Ballet and a gala honoring decades of excellence. A landmark event occurred in June 2025, when the company delivered the first live performance on a pavilion façade in World Expo history at Expo 2025 Osaka, presenting Weaving Looms and Threads in partnership with visual artist Carlo Calma to showcase Filipino artistry on an immersive digital-like projection surface. The company's recent seasons reflect ongoing innovation and resilience. The 55th season opened in August 2024 with at The Theatre at Solaire, reviving the Romantic-era classic to emphasize ethereal storytelling and technical precision. It concluded with the world premiere of the original full-length Filipiniana ballet Ang Panaginip from February 28 to March 2, 2025, exploring themes of dreams and Filipino identity through by resident artists. The 56th season commenced in August 2025 with Three Masters, One Stage, a historic triple collaboration with Repertory Philippines and the Manila Symphony Orchestra, featuring Prokofiev's alongside dramatic and symphonic elements for a multidisciplinary gala. Amid challenges like the , Ballet Philippines adapted by launching virtual platforms such as BP OnStream in 2020 for online performances and masterclasses, enabling continued audience engagement and dancer training during lockdowns. Post-pandemic recovery involved hybrid approaches, including the integration of digital projections and live-streaming in select productions to broaden accessibility while rebuilding live attendance. Over its history, Ballet Philippines has evolved as the CCP's flagship resident company, prioritizing professional alongside contemporary works that fuse Western traditions with Philippine folklore and modernity, thereby nurturing a distinct national identity.

Organization and Leadership

Company Structure and Facilities

Ballet Philippines serves as the first resident dance company of the (CCP), established in 1969 to professionalize dance within the nation, with its principal performance venue at in . This affiliation provides access to the CCP's extensive infrastructure, including rehearsal studios and theaters within the 62-hectare complex, supporting the company's daily operations and major productions. The organization operates under a board-led structure, overseen by President Kathleen Lior-Liechtenstein, a prominent leader recognized with the 2023 Global FWN100 Award for her influential contributions to Philippine and . Administrative functions are managed through dedicated teams handling production, marketing, and artist development, with key roles including Carrie Domingo for operations and Marketing Manager Maui Mauricio for promotions. The company comprises an ensemble of approximately 30-40 professional dancers, categorized into principals, soloists, demi-soloists, and , emphasizing the cultivation of Filipino talent through rigorous training and performance opportunities. This core group is supported by the Ballet Philippines Dance School, which provides foundational and advanced instruction to nurture emerging artists. Beyond the CCP, Ballet Philippines partners with external venues such as The Theatre at Solaire for select productions, expanding its reach while maintaining its base in Manila's cultural hub.

Artistic Directors

Ballet Philippines was founded in 1969 by , who served as its first artistic director from 1969 to 1989. As a National Artist for , Reyes emphasized the fusion of Filipino contemporary elements with , establishing the company's signature style of culturally rooted productions that gained international recognition. Denisa Reyes, Alice's sister, held the position from 1991 to 1994 and again from 2000 to 2004, during which she focused on developing youth programs and fostering international exchanges to broaden the company's global outreach and nurture emerging talent. Agnes Locsin served in two terms, from 1995 to 1996 and 1999 to 2000, introducing works that addressed social issues through neo-ethnic choreography, thereby expanding the repertoire to include commentary on Philippine cultural and societal themes. Cecile Sicangco directed the company from 1996 to 1999, prioritizing the strengthening of training to enhance dancers' technical foundation and maintain high performance standards. Noordin Jumalon's brief tenure from 1999 to 2000 served as a transitional period, bridging leadership changes while supporting ongoing operations as acting . Alden Lugnasin served as associate starting in 2004, emphasizing technical rigor in rehearsals and performances to elevate the company's precision and artistry. Agustus "Bam" Damian III directed from 2004 to 2008, expanding the diversity of the repertoire by incorporating varied choreographic styles and collaborations. Alan Hineline and Max Luna III co-directed from 2008 to 2009, focusing on collaborative projects that integrated interdisciplinary elements into productions. Paul Alexander Morales served from 2009 to 2017, modernizing productions with influences from global trends to refresh the company's aesthetic and appeal. Alice Reyes returned as artistic director from 2017 to 2020, leveraging her foundational vision to guide the company through transitional challenges. The current artistic director, Mikhail "Misha" Martynyuk, has held the position since 2020, overseeing post-pandemic recovery efforts, including the company's performance at the 2025 Expo and the development of new full-length . His appointment sparked controversy within the Philippine ballet community due to the abrupt replacement of founder and concerns regarding foreign leadership.

Repertoire

Classical and International Works

Ballet Philippines has established a strong foundation in by staging full-length productions of renowned works, adapting them to resonate with Filipino audiences while preserving their traditional essence. The company's core classical repertoire includes annual holiday presentations of , a staple since its introduction in the 1970s, featuring iconic roles such as the Sugar Plum Fairy and the Dewdrop Fairy performed by principal dancers. This production, set to Tchaikovsky's timeless score and accompanied live by the Symphony Orchestra, blends classical technique with contemporary flair, drawing families to the each December. In recent seasons, Ballet Philippines expanded its classical offerings with in August 2024, marking the first full staging of this Romantic-era ballet in its history. Choreographed originally by Filippo Taglioni in 1832, the production follows a Scottish farmer's ill-fated enchantment with a , emphasizing ethereal pointe work and dramatic narrative. To enhance cultural relevance, the company infused Filipino romanticism and , aligning the themes of longing and with local sensibilities. Another cornerstone is , a vibrant Spanish-themed set in , centering on the knight-errant's chivalric quests, romantic entanglements, and the celebrated Grand between Kitri and Basilio. Ballet Philippines has performed this work multiple times, collaborating with international guest artists to elevate technical precision and artistry, as seen in past pairings with renowned dancers like those from global companies. The company's international influences are evident in its of over 500 choreographic works, many drawn from global masters and performed during tours that extend its reach worldwide. For instance, in 2015, Ballet Philippines toured with Master Pieces, showcasing excerpts from classical and contemporary ballets to audiences in , , and , fostering cultural exchange. Earlier tours to the and in 2014 highlighted uniquely Filipino interpretations of classical forms, reinforcing the company's role as a cultural . Adaptations of these classics often incorporate local elements to bridge Western traditions with Filipino identity. In The Nutcracker, the story unfolds in 1920s Philippines during a Noche Buena celebration, featuring Filipino costumes, music variations, and cultural motifs like colonial-era settings to evoke national heritage. Similarly, productions like Swan Lake—staged since 1978—have welcomed guest stars from the Mariinsky Ballet, blending Russian precision with Philippine artistry. In August 2025, Ballet Philippines presented Peter & the Wolf and The Little Red Riding Hood as part of its 56th season, in collaboration with Repertory Philippines and the Manila Symphony Orchestra at The Theatre at Solaire. These narrative , the first joint staging of their kind in Philippine theater , highlight themes of bravery and caution through classical . Over decades, the company has attracted luminaries such as and for guest appearances in classical revivals, underscoring its commitment to high-caliber international partnerships.

Original and Filipino-Inspired Productions

Ballet Philippines has distinguished itself through its extensive repertoire of original productions that fuse techniques with Filipino cultural elements, resulting in over 500 choreographic works that explore and heritage. These pieces often draw from Philippine folklore, historical narratives, and contemporary social themes such as gender roles, identity, and societal transformation, blending Western with and indigenous movements to create uniquely Filipino expressions. Choreographers like founding artistic director and National Artist have been pivotal in this innovation, with Reyes pioneering rock opera s and Locsin developing a neo-ethnic style that incorporates tribal rhythms and rituals into forms. Among the company's signature works is Rama Hari (1980), a groundbreaking rock opera ballet adapted from the Indian epic Ramayana but localized to resonate with Filipino storytelling traditions through libretto by National Artist Bienvenido Lumbera, music by Ryan Cayabyab, and choreography by Alice Reyes. This production, which premiered at the Cultural Center of the Philippines, has been hailed as the most awarded Philippine ballet, securing 14 Philstage Gawad Buhay Awards during its 2012 restaging for its innovative fusion of pop music, drama, and dance that celebrates themes of duty, love, and exile. Similarly, Rock Supremo (2013), a collaboration with Rock Ed Philippines, reimagines the life of revolutionary hero Andres Bonifacio, featuring the poignant segment Lakambini that portrays his devotion to the motherland through kundiman-inspired music and dynamic choreography blending rock elements with historical drama. Other notable originals include ' iconic choreography for , a Filipino-infused interpretation of Carl Orff's medieval that incorporates local rhythmic patterns and expressive movements to evoke primal human desires and communal rituals. In recent years, the company has continued this tradition with full-length works like Ang Panaginip (2025), an original Filipiniana loosely adapted from the fairy tale , which premiered on February 28, 2025, at The Theatre at Solaire to conclude the 55th season, emphasizing themes of dreams, femininity, and cultural fantasy through contemporary narratives. For its 56th season, Ballet Philippines unveiled a reimagined Alice in Wonderland in November 2025, choreographed by artistic director Mikhail Martynyuk, transforming Lewis Carroll's whimsical tale into a playful of curiosity and identity with and , set for performances in December at The Theatre at Solaire. These productions underscore Ballet Philippines' commitment to evolving Filipino-inspired dance as a vibrant medium for cultural reflection and innovation.

Notable Artists

Founders and Pioneers

Ballet Philippines was co-founded in 1969 by and Eddie Elejar, with administrative support from Tony Fabella, establishing it as the resident dance company of the (CCP). , a pioneering figure in Philippine , brought a strong foundation in techniques after training with during her studies in the United States on a Fulbright scholarship. She was proclaimed National Artist for in 1999 for her transformative contributions to the field. Reyes pioneered the fusion of with Filipino cultural elements and , creating works like Amada (1970) that integrated traditional Philippine motifs into contemporary choreography. Following her tenure as artistic director of Ballet Philippines, she continued her arts advocacy by founding the Alice Reyes Dance Philippines in 2020, emphasizing education and mentoring to nurture new generations of Filipino artists. Eddie Elejar, a former dancer with the Bayanihan Philippine Dance Company, served as co-founder and early choreographer for Ballet Philippines, contributing to its initial repertoire and helping shape its professional structure. Tony Fabella played a crucial administrative role as a pioneer in managing the company's operations and securing its affiliation with the CCP, which provided essential institutional support and resources from the outset. As an original member and resident choreographer, he bridged traditions with ballet administration, ensuring the company's sustainability during its formative years. The founders drew significant early influences from the Bayanihan Philippine Dance Company, whose international tours in the 1950s and 1960s popularized stylized Filipino folk dances and inspired a generation of performers, including Reyes and Elejar, who brought these elements into Ballet Philippines' foundational ethos prior to 1969. The legacies of these pioneers endure through Ballet Philippines' creation of over 500 choreographic works, which have elevated dance as a respected art form in the Philippines and garnered national recognition for blending global techniques with local narratives.

Principal Dancers and Alumni

Ballet Philippines has nurtured a distinguished lineage of principal dancers, beginning with early figures who elevated the company's classical repertoire in the 1980s. Nonoy Froilan emerged as a premier danseur noble during this era, performing lead roles such as Albrecht in Giselle and contributing to the company's growth as a principal dancer since 1973. His technical prowess and stage presence helped establish Ballet Philippines as a platform for Filipino male leads in an art form traditionally dominated by female principals. Similarly, Gina Katigbak Garcia shone in iconic roles, including the Sugar Plum Fairy in The Nutcracker, showcasing her lyrical style and commitment to the company's holiday traditions. In contemporary seasons, principal dancers like Ian Ocampo have carried forward this legacy, embodying resilience through international tours such as the 2025 , where he performed alongside peers in cultural exchange programs. Ocampo's journey from company member to principal highlights his versatility in both classical and contemporary works, including Basilio in . Jemima Reyes, a rising principal , is set to portray the titular role in the upcoming 2025 production of Alice in Wonderland with luminous precision and emotional depth. Her performances underscore Ballet Philippines' emphasis on dynamic female leads who blend technical excellence with narrative storytelling. Alumni have extended the company's influence globally, performing in classics such as and with international ensembles and reinforcing Ballet Philippines' role in fostering talent for stages worldwide, addressing historical gender imbalances where male principals were scarce in local companies. Other alumni, including those who joined international ensembles, have reinforced Ballet Philippines' role in fostering talent for stages like , though specific transitions vary by individual trajectories. The 2019 alumni homecoming concert, BalikBP@50, celebrated these contributions through master classes and performances, reuniting dancers like Katigbak Garcia to share insights on mental wellness and legacy-building. This event highlighted how principal dancers and continue to shape Ballet Philippines' identity, promoting Filipino artistry on both national and international platforms.

Achievements and Impact

Awards and Recognitions

Ballet Philippines has received numerous accolades recognizing its contributions to Philippine , including the Pinoy Pride Award at MEGA's Day Ball in 2022, honoring the company's role in promoting Filipino creativity and dance. The company's production Rama Hari, a rock-opera adaptation of the , holds the record as the most nominated and awarded Philippine production in Gawad Buhay , securing 14 awards in 2012 for categories such as outstanding , production design, and ensemble performance. Individual members have also been honored for their leadership and artistic impact. Founding artistic director was proclaimed National Artist for Dance in 1999 by the Philippine government, acknowledging her pioneering role in and company establishment. Current president Kathleen Liechtenstein received the Global FWN100 Award in 2023 from the Foundation for Filipina Women's Network, recognizing her as one of the most influential Filipina women worldwide in business and the arts. On the international stage, Ballet Philippines earned acclaim for its performances at in , (April 13 to October 13, 2025), where dancers presented innovative façade projections and live shows at the Philippine Pavilion, marking a world first in Expo history for integrating with pavilion architecture. Global reviews have praised the company's collaborations, such as a 2016 Bachtrack critique describing Ballet Philippines as a "rare gem" for its homegrown talent and vibrant contemporary-classical fusion during international tours. Over its more than 50 years since founding in 1969, Ballet Philippines has amassed multiple Gawad Buhay citations for productions blending classical and Filipino elements, underscoring its enduring excellence in Philippine arts.

Educational and Outreach Programs

Ballet Philippines Dance School (BPDS), the official educational arm of the company established in 1970, serves as the premier training ground for aspiring dancers in the Philippines. Housed at the SM Aura Premier in Taguig, the school offers a rigorous curriculum that integrates classical ballet techniques with contemporary dance, including specialized classes in improvisation, choreography, and pedagogy. Programs cater to students from age 3 through adults, with levels ranging from children's pre-ballet to pre-professional training for those aged 13 and above, emphasizing performance opportunities and foundational skills. The school's outreach initiatives extend dance education beyond its studios through free workshops and school-based programs that introduce participants to , music, and . Annual educational tours and community events, such as the Ballet Brigade series under the YAKAP ng BP program, target underprivileged and marginalized youth, fostering accessibility to the arts. For instance, in August 2025, Ballet Philippines conducted at National High School, engaging over 1,000 students in activities to promote cultural appreciation. These programs significantly impact rural and underserved communities by addressing barriers to arts access, including collaborations with provincial schools for interactive sessions inspired by local traditions. By extending beyond urban centers, initiatives like community performances and workshops in regions such as La Union help preserve and share Filipino cultural elements through dance. In recent years, BPDS has expanded accessibility with trial classes open to the public and youth scholarship programs, including full and half scholarships awarded via auditions for pre-professional training. These efforts integrate with the company's 56th season (2025-2026), enhancing public engagement through family-oriented workshops and events tied to productions, such as the August 2025 collaboration with Repertory Philippines and the Manila Symphony Orchestra. Over the long term, the school's talent pipelines have played a pivotal role in nurturing artistic development, contributing to Ballet Philippines' repertoire of over 500 choreographic works by cultivating generations of choreographers and performers.

References

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  57. https://runthrumagazine.wordpress.com/2013/10/09/the-fabulous-tony-fabella-1/
  58. https://bachtrack.com/article-ballet-philippines-november-2016
  59. https://catanduanestribune.net/2024/08/10/nonoy-froilan-for-national-artist-for-dance/
  60. http://www.dev.aide.edu.ph/nonoy-froilan/
  61. https://lifestyle.inquirer.net/339477/ballet-philippines-to-hold-homecoming-concert-alumni-remember-the-good-ol-days/
  62. https://www.ballet.ph/tag/ianocampo/
  63. https://www.facebook.com/ballet.ph/posts/-meet-our-extraordinary-principal-dancer-jemima-reyes-portraying-alice-the-lumin/1360823579054735/
  64. https://www.manilatimes.net/2025/11/02/the-sunday-times/arts-awake/jemima-reyes-finds-balance-beauty-and-strength-in-dance/2213672
  65. https://verafiles.org/articles/dance-docu-relates-travails-of-the-filipino-danseur
  66. https://www.philstar.com/other-sections/starweek-magazine/2019/06/30/1930538/manangs-return-shall-we-dance
  67. https://www.ballet.ph/tag/award/
  68. https://mega-asia.com/events/mega-signatures/the-mega-ball-highlights/
  69. https://lifestyle.inquirer.net/289800/10th-year-10-badass-gawad-buhay-achievements/
  70. https://filipinawomensnetwork.org/global-fwn100-2023
  71. https://www.ballet.ph/ballet-philippines-dance-school/
  72. https://www.ballet.ph/en-pointe-page-8/ballet-philippines-dance-school-we-answer-your-frequently-asked-questions/
  73. https://www.ballet.ph/yakap-ng-bp/
  74. https://www.ballet.ph/yakap-ng-bp/ballet-brigade/
  75. https://www.ballet.ph/tag/bp-ballet-outreach/
  76. https://www.ballet.ph/tag/bp-community-program/
  77. https://www.ballet.ph/ballet-philippines-dance-school/pre-professional-training/
  78. https://www.ballet.ph/category/bp-bulletin/
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