Never Give Up: Building a Life Through Dance

RAW Mags visited John Patrick Olegario (@jpo_untdnc), the CEO of The Unity Dance (@theunitydance) at his dance studio in Vienna, Austria. After two unsuccessful dance studios, which he was forced to close, the dancer and entrepreneur has achieved success in the world of dance, where not his dance moves, performances but also entrepreneurial skills have attracted admirers. His story traces a path marked in equal measure by setbacks and creative breakthroughs. Thank you, John Patrick Olegario, for a conversation about success, failure, entrepreneurship and his life as an artist.  

Failure as a Stepping Stone

The conversation began with a reflection on his personal and professional journey, including the successes he had achieved and the challenges he had faced over the years. For John Patrick, this is already his third dance studio, although this path was shaped more by circumstance than by choice. His first studio, located in the heart of Vienna, operated between 2013 and 2014. Together with his business partners, he invested considerable time and resources in renovating the dance studio. However, the venture came to an abrupt end when a neighbour objected to the studio’s presence and reported it, ultimately forcing them to close. Faced with the loss of their location, they began searching for an alternative. During this period, his partners decided to leave the business, leaving John Patrick to continue on his own. Determined to pursue his vision, he found a new location at Millennium City. Once again, he invested his own money, hired an architect, and built the studio from the ground up. From 2015 onwards, he successfully operated the studio for eight years, creating not only a thriving business but also a strong community around it. The COVID-19 pandemic marked another major turning point. According to him, the consequences of the pandemic led to restructuring measures at Millennium City, ultimately resulting in the loss of the studio. He described this as one of the most difficult experiences of his career. Having invested not only substantial financial resources but also immense personal dedication and passion, he felt that he had lost everything he had worked so hard to build. Reflecting on that period, he recalled questioning whether it was worth continuing at all. “I asked myself whether I should carry on,” he said. “But you can’t simply leave the business to fend for itself.” After a two-year search, he eventually found a new property. The studio he operates today holds particular significance for him because he renovated it entirely from scratch. More than just a workplace, it represents resilience, perseverance, and a fresh start after years of setbacks and rebuilding.

Can You Make a Living from Art and Culture?

John Patrick emphasised that working in the arts and cultural sector is rarely about making large profits. While it is possible to earn a living by running a dance studio, financial success is generally limited. A studio can grow and become well established, but it is unlikely to make its owner wealthy. Instead, he views it as a project that enriches people’s lives through dance, entertainment, and a sense of community. The rewards are often social and personal rather than financial. According to John Patrick, sustaining such a venture requires a great deal of passion and commitment. From a purely entrepreneurial perspective, significant financial gains would require a very different approach, such as franchising the business. However, this is not the path he has chosen. Looking ahead, he hopes to invest in employees again, which would allow him greater freedom to pursue other interests and projects beyond dance while continuing to expand the studio’s programme and activities. 

He stresses the importance of economic reality. “At the end of the day, we have to pay the bills. This involves managing staff and facilities. It’s a business providing a service.” In his view, there are always two sides to the enterprise: the artistic and cultural mission on the one hand, and the practical demands of operating a business on the other. Although dance, music, and entertainment are sources of personal fulfilment, they are inseparable from the work required to sustain them. He notes that even holidays are shaped by the needs of the business. During the summer break, for example, he may have only a short period away from work, and even then, he often remains involved in studio activities. Consequently, the artistic side of his identity can only flourish once the business itself is secure and functioning smoothly. Only then can he fully devote time to dancing, teaching, attending classes, and engaging with the wider community. His reflections reveal the constant balance required between artistic passion and entrepreneurial responsibility. As he puts it, there is little room for romanticising the situation: running a cultural business requires dedication, resilience, and a continual awareness of the practical challenges involved.

More Than a Dance Studio

When asked how he had built his brand, John Patrick emphasised that the studio is fundamentally community-driven. He described it as a place where personal relationships are at the heart of the business. As the CEO, he knows most of the people who attend the studio personally, and many of them, including parents of younger dancers, are on a first-name basis with him. For him, the studio is a tangible reflection of the vision and community he has worked hard to create. “I’m there for the community, also as the CEO,” he explained. “I’m present on-site and actively involved.” He described the studio’s concept as being built around three interconnected pillars. The first is training, which focuses on regular dance classes and skill development. The second consists of events that bring people together and strengthen social connections within the community. The third is the lifestyle dimension, which includes clothing, merchandise, and other activities that extend beyond dance itself. In his words, the studio’s identity can be summarised through the themes of community, lifestyle, and events. When asked about the presence of Filipinos at the studio, John Patrick noted that many Filipinos have a strong affinity for dance. What he particularly admires about Filipino culture is that dancing is often a natural part of everyday life rather than an activity confined to a formal dance school. He believes that a love of entertainment, music, and social gatherings is deeply embedded in Filipino culture. As a result, Filipinos regularly attend classes and events at the studio, although they do not constitute the majority of participants because the studio caters to a highly international clientele. For him, the studio serves not only as a place for dance but also as a space where people from diverse cultural backgrounds can connect, build relationships, and become part of a wider community.

This strong sense of community is closely connected to the studio’s broader mission. While The Unity Dance studio welcomes everyone, from complete beginners to experienced performers, its broader mission is to develop skilled and athletic dancers. The programme is designed to support progression at all levels, enabling participants to advance from introductory classes to competitive and professional opportunities. For some, this journey may ultimately lead to participation in national and international championships, stage productions, or professional dance careers. John Patrick noted that several dancers associated with the studio have already achieved notable success, performing in major national and international productions and working alongside well-known artists. Such achievements are a source of pride for the studio. While he himself was once active as a performer, he explained that his entrepreneurial responsibilities increasingly shifted his focus towards managing and developing the business.

The Artist Behind the Entrepreneur

John Patrick’s passion for dance began at a young age. At the age of eleven, he started dancing alongside his cousin, now singer Vincent Bueno. Inspired by Michael Jackson’s performances on TV and the popular Filipino variety show ASAP, the two spent hours imitating dance groups such as the Street Boys, who were highly influential at the time. As his interest and skills developed, dance became more than just a hobby. Through friends and acquaintances, he became increasingly involved in the local dance scene and eventually took on a leadership role in a dance group. Dance also opened doors far beyond Austria. By the age of fifteen or sixteen, he had already travelled extensively across Europe through dance competitions and performances. Looking back, he described this period as an unforgettable chapter of his life. 

When discussing his approach to developing performances and choreographies, John Patrick described himself as both a passionate dancer and a creative choreographer. For him, every choreography begins with visualisation. He first imagines movement patterns in relation to the music, carefully considering not only the technical aspects of the piece but also its emotional and artistic message. Questions such as what the choreography should express, which core elements it should contain, and what story it should tell all play a central role in his creative process. He explained that he likes to immerse himself completely in the music, allowing the sounds and emotions of a song to guide his movements. In situations where he is not constrained by a particular style or detailed instructions, he strives to create movements that feel authentic and naturally reflect his own emotions. “I like to really listen to the music, lose myself in it, and dance my way into it,” he noted. In these moments, choreography becomes a highly personal form of expression. Asked whether he follows any rituals before going on stage or creating a new choreography, John Patrick identified visualisation as the most important one. He  also believes that understanding and responding to the audience is essential to any successful performance. He further highlighted gratitude as an important and consistent part of his daily life. He explained that he always takes a moment to thank God for the opportunities and blessings he has received. For him, this sense of appreciation is less a stage ritual than a guiding principle that shapes both his personal life and his career. 

Dancing Against Expectations 

Talking about his family and how they reacted to his decision to build a business around dance, John Patrick explained that the response was initially mixed. His father, in particular, was rather sceptical. While he strongly supported sports and other activities, he viewed dance from a practical perspective and questioned its viability as a career because, in his opinion, it was not bringing food to the table. John Patrick understands this perspective and does not hold it against him. In many ways, he felt that he had to pursue his passion largely on his own. Despite performing frequently throughout his childhood, he did not always experience strong support or attention from his wider family network. Looking back, he recalled that there were periods when dancing brought little financial reward, joking that it was often a case of “dance for food.” Over time, however, his father’s perspective gradually changed. As he witnessed the dedication, financial investments, and determination to transform dance into a sustainable business, he became increasingly interested in and supportive of the venture. According to John Patrick, the turning point was when his father recognised that dance was no longer simply a hobby but a serious professional job. Today, he believes his father is pleased to see that he has found a path that brings him fulfilment while also allowing him to support himself financially. As long as he can see that his son is happy and able to make a living from his work, he is supportive of  his choices. At the same time, John Patrick acknowledges that his career path remains unconventional, particularly when compared with more traditional professions often associated with stability and security. “It’s very atypical,” he reflected. Rather than pursuing a conventional career like many other Filipinos in the healthcare sector, he chose to build a livelihood around dance, creativity, and entrepreneurship. 

Dance, Discipline, and Determination

Reflecting on contemporary dance culture, John Patrick pointed to the global popularity of K-pop as an example of how powerful choreography can captivate large audiences. While local dance communities may not yet attract the same scale of attention, he noted that platforms such as TikTok have transformed the visibility of dance and helped bring it to a much broader audience. For John Patrick, dance is not defined by formal training or professional status. Rather, he believes it often begins in the most ordinary settings. “Dancing starts somewhere at home in front of the mirror,” he remarked. He therefore takes an inclusive and relaxed view of dance. His philosophy is “feeling first”, because the essence of dance lies in emotional expression and the joy of movement. Looking back on his own experiences, he feels that what initially drew him to dance was not technical perfection but the emotional connection and excitement it created. From this perspective, he views platforms such as TikTok positively. While some critics dismiss viral dance content as superficial, he considers it an accessible gateway into dance. Any activity that encourages movement, coordination, and physical engagement can have value, particularly for young people. In his view, dance offers not only creative expression but also a healthy outlet for releasing energy and managing stress.

The conversation also touched on broader societal changes, particularly the influence of technology on younger generations. Having grown up before the widespread use of smartphones, John Patrick has witnessed the rapid digitalisation of everyday life. While he recognises the opportunities technology provides, he is concerned about the growing amount of time young people spend in front of screens. For this reason, he sees places such as dance studios as increasingly important social spaces that offer opportunities for physical activity, face-to-face interaction, and personal development. He believes that greater attention should be given to hobbies, sports, and cultural activities that support both physical and mental well-being. For him, dance studios should be supported more as they contribute far more than entertainment alone. They create environments that foster social connection, physical fitness, creativity, and mental resilience.