Classic Ballet is like a little orphan among the other arts in Peruvian cultural field. It has always depended on the support of generous persons who has been fighting against the political indiference for so many decades.

The popularity of ballet has increased since Anna Pavlova made her Peruvian tournée in 1922. But it wasn’t until the late 30’s when the first generation of Peruvian dancers appeared and we could appreciate dance spectacles on a regular basis. If classical ballet had a sort of golden age that happened since the late 40’s to the late 60’s. It is revealing the fact that as political and aristocratic (I couldn’t name it other way) interest in ballet started to cool down, more and more young people from the middle and low classes started practicing and supporting ballet.

Nowadays, in spite of the irruption of modern dance, aerobics and other kinds of physical/aristic disciplines, classic ballet still has the power of capturing our personal aspirations of trascendence, amusement and creativeness.

What I found specially dangerous at this moment is the fact that the former Governement has erased the course of Music from the secondary school programs, since it was the only opportunity for ballet to be mentioned at least one or two days in a whole academic year. How in the world are young girls and boys going to know what ballet is? Moreover, the Peruvian television only programs ballet specials on Christmas, if they ever do it. The only chance we have is to lower the price of the tickets to ballet spectacles produced in our country. But doing this would mean diminishing the only source of money. How different would be the situation if the Government decreed ballet demonstrations on schoolyards and university campuses affording every cost!

I worked for almost ten years in the Ballet del Teatro Municipal de Lima, the only big company of classical ballet in Peru, and now I love ballet more than before. I admire those dancers who make a lot of sacrifice to continue their career. They have certainly, a perfect inspiration in their founder and director, Lucy Telge de Linder. There are some snob persons who criticize her for the ambitious productions of the company. It is true that one good observer could pick several material and human mistakes in these productions, but I know they make their best effort to maintain classic ballet as a living presence in the national stages. You may remember that a terrible fire destruyed the Teatro Municipal de Lima in july 1998. This theater was the most accurate for staging complete ballets and operas, and although some foundation has raised money for its reconstruction, no brick has been put on it ever since. Besides, I find very offensive that the doubtless culprits (the lighting technicians Minaya and the singer Eva Ayllón) are free and have suscripted new contracts with estate institutions. Meanwhile, the Ballet del Teatro Municipal remains homeless...

The other big company of ballet in Peru is the Ballet Nacional del Perú, which has already 35 years of existence. I've gotten the chance of working for them as advertising assistant for almost one year. I could observe that there were no place for taking some innovations or risks in the management of the company as well as in the production of their stage works. They receive state financial support and get more easily private donations. The main characteristic of this company is to bring every now and then very interesting works of modern or contemporary dance. In the classic dance field, unluckily, they are satisfied with just some clichés, mostly à la cubana. In my personal opinion, nevertheless, I easily see that in recent years the creativeness has given way basically to the restaging of old modern stuff and the adding of few selected classic divertissements. If you read the programme before each new season you will surely get disappointed because of some out-of-date credo and unimaginative descriptions of what you are going to see. They have good performers, though. How I would like to see truly Peruvian-hearted choreographies on the stage!.

But in spite of the critical situation of the performing arts in Peru, I gladly observe a highly-gifted generation of young girl dancers. Most of them are pupils of an untirable pair of ballet teachers: Tatiana Izquierdo and Roberto Murias. They have recently founded with all those girls the group Ballet Joven de Lima and I am proud to say I was chosen to create many ballet costumes for them. Izquierdo and Murias have interesting projects in mind for the next years. I would only wish they have a clear artistic goal on their horizon for not remaining as a shadow of the older ballet companies. Young ballerinas if not well-orientated are in risk of becoming just technical, soul-less performers. In spite of that, my hopes are fulfilled when I see on stage all those little girls --aged between 5 and 13 years-- pupils of a wise, young ballet teacher: Suzanne Neumann. You should see them by yourself to know why. I am lucky enough to make their ballet costumes and enjoy their performances full of talent, artistry and ABOVE ALL the joy of dance... and remember we are talking of the seldom happy combination of true classic ballet and tender age.

Designing and constructing costumes for ballet is not an easy way-of-living in Peru, yet, but the satisfaction I get when seeing gifted dancers on stage is incredible. Soon I will tell you more about my profession. Please come again!

Víctor Alvarado Untiveros