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By Rome Jorge, Lifestyle, Editor
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Amiel
in Cabaret |
Joining the ranks of seamen, nurses,
programmers, engineers, construction workers, caregivers and other
overseas Filipino workers are thespians, balladeers, ballerinas,
danseurs, choreographers and other artists. From jazz bands at
hotels to theater shows at casinos and theme parks, Filipinos are
taking center stage.
The world is not only looking for highly skilled
labor. It is looking for talent and artistry as well.
This is neither a case of the overqualified
enduring drudgery and abuse nor brain drain. These artists works as
artists. They remit and return. And besides, we have an
overabundance of talent with not enough stage companies or theater
audiences.
It’s a win-win situation for everyone. Those
who go abroad earn more. Those who stay have more opportunities. And
when our overseas Filipino artists return, they bring a wealth of
experience and inspiration that can be applied locally.
According to the Bangko Sentral ng Pilipinas,
OFWs brought in $14 billion in 2007. They account for 9 percent of
the economy. The money they bring provides capital for
entrepreneurial ventures, drive the real estate market and propel
consumer spending. Our nation depends on them.
Despite a turbulent
global economy, demand for OFWs remains high. In the digital
download age, performances arts are the new premium. There’s
simply no substitute for what’s live.
One of the most promising destinations for
artist OFWs is Macau, its many themed casinos and live acts. Judith
Javier and Amiel Mendoza, two 30-something theater actors performing
at The Venetian for a yearlong contract, reveal what it takes to be
chosen and why they chose to go.
Javier, who was chosen as one of The
Venetian’s Streetmosphere performers, recalls the selection
process: “During the final auditions, I met friends and artists
whom I knew were all talented. I actually thought the panel would
have a hard time choosing people to hire. I heard the Venetian was
only getting 25 musicians and singers and there were still so many
of us who were in for call back. I heard they were particular with
vocal power since we would be performing in an open space without
microphone. I think it was the hard work and preparations I have
made before coming to the audition [that got me in]. It’s also the
sacrifice and support of my voice teacher Dodo Crisol.”
Mendoza, having successfully auditioned for the
role of a singing gondolier, reveals, “Aside from the exceptional
singing skill and experience, I was told that personality counts a
lot. The job of a gondolier involves a lot of interactions with
guests, to make sure that they are comfortable and are feeling the
Venetian atmosphere of romance and love. We also had to speak with
Italian accents. Since theater prepared us for this, it wasn’t too
hard. The repertoire is composed of Italian arias so I had to learn
an Italian song before I went to the audition.”
Javier reveals her reasons for leaving: “I
actually thought I would never leave my country like others do. But
when I went to Taipei to perform and represent our country just this
last June, I was an affirmation of my being a Filipino. Performing
with Filipinos there and with other cultures all the more made me
appreciate our identity, our race and our differences.”
Doing what she loves comes easy: “I been
learning classical singing for two years now. I am just glad I have
an opportunity to use it and earn from it.”
She adds, “The financial benefits are a great
bonus. More or less, its triple the amount of my earnings here.”
Nonetheless, she cannot imagine immigrating for good. “I can only
see myself working there for one to two years at this point,” she
says.
For Mendoza, the attraction is working with some
of the world’s best: “It is a great feeling to be given an
opportunity to prove your worth as a Filipino artist and to perform
on a different stage in front of a multicultural audience. You get
to make your country, family and friends proud. Since the stage is
much more technically equipped, it’s like getting a taste of the
world-class arena.”
Money is also a factor. He reveals: “Most
theater actors agree that there is no money in theater and sad to
say, it is very true here in Manila. Most of us really do it for
love. Getting an offer that is a whole lot more than the Philippine
norm is really a great bonus that artists really deserve. To give
you an idea, a fellow OFW at our pre-departure orientation seminar
told us about her offer in Japan. She said that with her earnings,
she was able to buy a house and lot [with the help of her Japanese
boyfriend]. Her earning is at least a third of the offer given to
us.”
Though they welcome the opportunity and
adventure, Judith Javier notes what she will miss most: “My time
to be with my family and Philippine theater.” Amiel Mendoza
confesses, “I will be leaving the country with a broken heart. I
am excited but at the same time, I will miss my nine-year old son
and since I am doing this mainly for him and his future, it’s a
chance I have to take.”
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