International Grand Champion, competitor on reality TV shows like America’s Got Talent, China's K-Star and Jackie Chan’s Disciple, and a Ninja for Tina Turner, Philip Sahagun has been in the spotlight like few other martial artists. After several years of performing with Cirque Du Soleil's groundbreaking show Zumanity, Philip has taken on a new position with Cirque, backstage as a Cirque Du Soleil Artist Coach where he serves as a martial arts choreographer. In our May+June 2018 issue, we caught up with Philip for the exclusive article "Join the Circus! Philip Sahagun’s Unique Journey from Champion to Cirque Du Soleil Artist Coach." Here, as a KungFuMagazine.com extra, is the original interview for that article.

GC: How did you first get involved with Cirque?

PS: My first collision with the world of Cirque Du Soleil was back in 2006 when a Cirque talent scout introduced themselves to me during the Disney Martial Arts Qualifier in Anaheim, CA. I believe that was a Tiger Claw event! The scout later gave me a formal invitation to audition for the newly minted Cirque Du Soleil show Kà, but I never followed through with the offer. Since that time, the company kept in touch with me as I pursued other opportunities.

GC: Tell us about Zumanity.

PS: Towards the end of 2014, I received a call from Cirque Du Soleil casting. The company was looking for an artist who matched the profile of a new character created specifically for Zumanity – a resident cabaret-style show at the New York New York Hotel and Casino in Las Vegas. During that time, Zumanity was undergoing a refresh – a process in which the company puts the whole production under a microscope and systematically updates areas they feel are outdated. On February 26, 2015, the new look for Zumanity was revealed, which included updated dance acts, musical acts, circus acts and a previously unseen addition – a martial arts act.

The original inspiration to create Zumanity came from multiple sources. Cirque du Soleil founder Guy Laliberté had been offered the chance to create two new shows in Las Vegas, and wanted something completely new and original rather than multiple similar shows that would cannibalize off of each other's sales and audiences. Another reason was that the New York-New York Hotel and Casino wanted to make their entertainment appear more "trendy." The hotel liked the concept of a more adult Cirque du Soleil performance.

The result? Zumanity is a let-loose, adult-themed, sexy thrill ride with sensual acrobatics and wickedly delicious fun. Playful and provocative, the seductive twists make the forbidden electrifying. The show opened in 2003 and has been going strong ever since.

GC: How long were you on that show?

PS: I started in Vegas in December of 2014 and stayed with the production until October 2017. Now I’ve switched to being an artist coach and martial arts choreographer with the company.

GC: Zumanity was pretty risque. What did you do?

PS: A faster explanation would probably be, “What didn’t I do?” I simulated various sexual acts on stage, took part in an orgy sequence, made out on stage, dressed up as a pilot, then as a ninja. I cracked whips next to women covered in latex and suspended by straps, I wielded double broadswords with a sadomasochist flare. I cleaned water dripping from the bodies of Mongolian contortionists. I performed choreographed fights in a giant’s iron cage wearing combat boots against a dancer with red high heels. Then to top it off, I fought with another ninja in an MMA-style brawl with homosexual undertones. Did I mention most of this was nightly?

GC: Were you able to keep your clothes on?

PS: I didn’t perform naked, but I felt a significant change from the normal martial arts uniform. Prior to this show, I took for granted the protection basic clothing could offer. There was a period where I switched costumes following a request from our artistic director and I was getting cuts or whip burns nightly for about a week. The least I ever had to wear was a well-positioned loincloth. But yeah, use your imagination.

GC: What is it you do for Cirque now?

PS: Now I’ve fell into to the role of a Cirque Du Soleil Artist Coach – basically I help with the choreography and development of new acts or sequences for the shows. I also serve as a type of martial arts consultant for the company. For example, if a show's Artistic Director wants to add a martial arts-inspired sequence or upgrade something with new movements or weapons, then I would be there to help make that happen.

GC: Who among the current Cirque casts come from martial arts backgrounds?

PS: Cirque as a company is extremely diverse; in 1984, 73 people worked for Cirque du Soleil. Today, the business has 5,000 employees worldwide, including more than 1,300 artists, so it’s hard to place a thumb on who comes from a martial arts background. In the Circus world, the martial arts are still an extremely obscure art form and I feel the company is still figuring out what to do with it. Over at Kà in the MGM Grand, Cirque hired quite a few artists from Chinese Opera and Wushu backgrounds to fulfill the show requirements starting in 2004. But, flash forward to Zumanity… I was the first cast member from a martial arts background since the show opened in 2003. Also, my act stood as the first martial arts duo act in the company’s history. That is a big step. Currently, the show has four martial arts “inspired” sequences and two fellow martial artists are in the show. My longtime friend Wes Scarpias (whom I also met at the Disney Competition back in 2006) and one of my longtime students, Sebastian Castellanos.

GC: How is it working with the non-martial artist cirque performers?

PS: As with most crossover projects, there was some conflict in the beginning. At Cirque du Soleil, everyone is extremely passionate about what they achieved in life, and everyone has a story about how they made it to the stage. This is especially true for a show like Zumanity which primarily features solo and duo artists.

When I first arrived, there were a lot of sideways looks and whispers backstage. I also remember that Pierre Parisien Senior Director for Cirque Du Soleil in Vegas was really adamant about showing me off to the cast. The vibe I was getting was a “look what he can do, he belongs here” type of thing… When I think back to those times and compare it to today, things have changed. The level of appreciation for the martial arts at Cirque is improving, and through the years, we inevitably influenced each other as artists whether we care to admit it or not. For example, I find the artistic directors I’ve worked with are more knowledgeable about the movement styles, weaponry and traditions of martial arts. Also, I’ve seen a lot more artists posting pictures on their Instagram accounts from their first day at a martial arts class – you know, little things like that. Some artists have started to train with me outside of their shows, and just this week I saw some coaches begin to use focus mitts to help condition dancers backstage. That was something I’ve never seen before. I’m not sure if they even realize it, but as far as I’m concerned, they are slowly being introduced to martial arts.

GC: Did you ever envision a career like this for yourself?

PS: Never. My career grew step by step and mainly out of my own boredom. When I was young, I didn’t know what I wanted to be. I was surrounded by martial artists my whole life but I didn’t really know what I could do with it. My mother and father were both martial artists and school owners – so I grew up in it. Our school, which started at 4,000 square feet, eventually blossomed into a building of over 15,000 square feet. I felt the growth of the school paralleled my own desire to expand. Now it has become a full-blown lifestyle.

GC: How long do you plan to stay with Cirque? And what's next for you?

PS: I plan on staying with Cirque for about another year or so. But I would prefer to work as a consultant. Right now I’m focusing on growing my family – I met my wife in the circus! Now I’m refocused on teaching and sharing the martial arts lifestyle. This year I launched www.KungFuHeroes.com, which will be an online platform for martial artists to train, immerse and explore with top coaches.

I will also host International Training Experiences at different locations across the world, and the theme for 2018 is Shaolin Legends Camp, where this summer my team is inviting athletes, enthusiasts and martial artists alike to explore the authentic roots of Shaolin culture. The program will be a total immersion "live in" martial arts experience which includes 7 days of training inside a traditional martial arts academy, cultural classes within the Shaolin Temple and an exploration into the unique art of Shaolin medicine. Participants will have the option to customize their experience and can train up to 8 hours per day with some amazing athletes. To help arrange this, I’ve personally spoken with Abbot Shi Yongxin, and he has created an amazing program for our participants in Shaolin Temple.

Creating events such as this has a special meaning for me. Through travel, my life has completely changed for the better. In my career, I’ve visited around 20 countries for teaching or performances. But despite the changes in scenery, the best feeling I get is one of discovery. Traveling keeps my practice fresh, and I’ve found it to be one of the few things you can buy that can actually make you richer. Currently I’m planning some extremely unique destinations for 2019 and 2020 training camps – yeah, I’m that serious.

GC: You've had such a unique career that I can't imagine there will be that many people to follow in your footsteps, but do you have advice for our readers?

PS: As my skill sets in martial arts grew, I began to envision myself achieving things that manifested later in my career. So, push yourself but don’t rush! Hard work can pay off, but typically this takes time. The process of compounding high levels of effort over time can yield some great results… Wait – doesn’t that sound familiar? Find your passion and start investing back into yourself. It’s time more of us start realizing our potential. So please ask yourself, what is yours?