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Misa Kuranaga had just arrived in Taipei, and was already eager to get in a rehearsal. At the following night's last-minute gala engagement she would dance Don Quixote and Balanchine's Tschaikovsky Pas de Deux. But at that point, she still hadn't met her partner.
“He has a great reputation," Kuranaga says of New York City Ballet principal Joaquin De Luz, “so I thought, Okay, let's do this. I wouldn't take such a crazy risk if I didn't know his name."
Gone are the days of comfortable career partnerships in ballet, of one-track dancers, of ballerinas who rely on a company to build their fan base. Kuranaga, whose killer work ethic and lyrical lines have long made her a fan favorite, has come to embody the future of ballet—a world of dancers who are independent and endlessly versatile. Dancers who supplement full-time company lives with part-time commercial gigs, and fill their vacations with guest appearances spanning the globe. “Being a dancer is almost a superhuman commitment, and Misa seems to understand that," says Boston Ballet artistic director Mikko Nissinen. “She has always been a wonderful dancer—but she's matured and become a true ballerina."
Growing up in Osaka, Japan, Kuranaga won early ballet success in competitions, then started her career as a San Francisco Ballet apprentice. But one year and a bad case of culture shock later, she wasn't rehired. She faced a decision: to leave ballet behind or to start over. Kuranaga chose to go back to school, enrolling at the School of American Ballet. By the end of the year, she received multiple job offers and chose Boston Ballet, earning her first principal role in La Sylphide only one year later.
She quickly built a reputation as a workhorse, spending hours in the studio alone. “I haven't seen anybody work as hard as her—in every class, every rehearsal," says American Ballet Theatre principal Herman Cornejo, a favorite partner of Kuranaga's at the Vail International Dance Festival. Her determination led to steady promotions: second soloist in 2005, soloist in 2007 and principal in 2009.
“When I got to principal, that was actually my start," says Kuranaga. “You have more freedom to express yourself." Having spent years in search of “perfect" technique, she now faced the challenge of figuring out who she was—and communicating that from the stage. Rather than adopting a flashy persona, she was simply herself: the always-striving, never fully satisfied, vulnerable but determined ballerina. “She is a very honest artist, that's what makes her so pure," says Nissinen. “She's very sincere, in life and onstage."
Company life has now become her artistic safe space. “I'm getting to a point that I don't have to feel nervous about every single thing anymore," she says. That comfort has given her the security to relax and deepen her artistry. “Only she knows her weaknesses," says Cornejo. “Sitting in the audience, I would never know."
Today, Kuranaga's fame reaches far beyond Boston. She brings her characteristic honesty to her tens of thousands of followers on social media, which she approaches as a public diary, whether she's feeling silly in rehearsal, challenged by altitude sickness or inspired by a new partner. “I used to hate to post videos on YouTube, because I didn't feel like I should be promoting myself—I felt like somebody else should do it," she says. “But now, promoting myself makes me feel good. It's a wonderful way to be independent." That self-promotion has earned her notable side gigs, including advertising campaigns for Freed of London, Japanese skin-care line SK-II and Italian jewelry company Bulgari. Earlier this year, Bulgari chose Kuranaga as one of 10 inspiring Japanese women from a variety of professions, and after completing a series of photo and video shoots over the summer, this month Kuranaga will attend a red carpet event in Tokyo where one of the 10 women will win an achievement award.
It's just the latest stop on a never-ending schedule of galas, festivals and events around the world, from Vail to Taipei to Havana. “I'm seeking inspiration," she says. “That's why I love guesting—because I grow. And then when I go back to Boston I train myself differently."
For now, the work is what fuels her. The thrilling challenges like meeting a new partner right before a performance or dancing at high altitudes remind her that even now at the pinnacle of her career there's still more to learn. “It's hard, but once you've done it, it becomes your confidence," she says. “Then you're like 'At sea level I can do anything.' "
Season 2 of World of Dance is almost here! The new season officially kicks off on Tuesday on NBC, and it's bringing a whole new crew of talented dancers with it (plus, some old favorites). Dance pro judges Jennifer Lopez, Derek Hough and Ne-Yo are back, too, with Jenna Dewan serving as the show's host.
Obviously we'll be watching, but just in case you're not completely sold, here's why you're not going to want to miss out:
JLo Might Be Performing
Earlier this week, JLo (who serves as the show's executive producer) posted this insane promo clip to her Instagram. Dancing to a mashup of Cardi B's "Bodak Yellow" and her new single "Dinero," JLo reminded us all of her dance skills while also leading us to believe she might just hit the stage herself for a performance.
Travis Wall draws inspiration from dancers Tate McCrae, Timmy Blankenship and more.
One often-overlooked relationship that exists in dance is the relationship between choreographer and muse. Recently two-time Emmy Award Winner Travis Wall opened up about his experience working with dancers he considers to be his muses.
"My muses in choreography have evolved over the years," says Wall. "When I'm creating on Shaping Sound, our company members, my friends, are my muses. But at this current stage of my career, I'm definitely inspired by new, fresh talent."
Wall adds, "I'm so inspired by this new generation of dancers. Their teachers have done such incredible jobs, and I've seen these kids grown up. For many of them, I've had a hand in their exposure to choreography."
A few weeks ago, American Ballet Theatre announced the A.B.T. Women's Movement, a new program that will support three women choreographers per season, one of whom will make work on the main company.
"The ABT Women's Movement takes inspiration from the groundbreaking female choreographers who have left a lasting impact on ABT's legacy, including Agnes de Mille and Twyla Tharp," said artistic director Kevin McKenzie in a press release.
Hypothetically, this is a great idea. We're all for more ballet commissions for women. But the way ABT has promoted the initiative is problematic.
On the occasion of its 70th anniversary, the Ballet Nacional de Cuba tours the U.S. this spring with the resolute Cuban prima ballerina assoluta Alicia Alonso a the helm. Named a National Hero of Labor in Cuba, Alonso, 97, has weathered strained international relations and devastating fiscal challenges to have BNC emerge as a world-class dance company. Her dancers are some of ballet's best. On offer this time are Alonso's Giselle and Don Quixote. The profoundly Cuban company performs in Chicago May 18–20, Tampa May 23, Washington, D.C., May 29–June 3 and Saratoga, New York June 6–8.
Considering we practically live in our dance clothes, there's really no such thing as having too many leotards, tights or leggings (no matter what our mom or friends say!). That's why we treat every sale as an opportunity to stock up. And thanks to the holiday weekend, you can shop all of your dancewear go-tos or try something totally new for as much as 50% less than the usual price.
Here are the eight sales we're most excited about—from online options to in-store retailers that will help you find the perfect fit. Happy Memorial Day (and shopping)!
Now through Monday, Danskin's site will automatically take 25% off your entire purchase at checkout. Even new items like their Pintuck Detail Floral Print Sports Bra and Pintuck Detail Legging (pictured here) are fair game.
"The sun may be shining brightly, but we are not in a very sunny mood today!" said New York State assemblywoman Linda Rosenthal during yesterday's rally for the Artists of Ailey.
The dancers and stage crew are demanding increased wages and more comprehensive benefits, what they have termed "reaching for the standard" and "fair wages."
Pain is an inevitable part of a dancing life and dancers have a high tolerance for it, according to Sean Gallagher, a New York physical therapist whose practice includes many professional performers. "So when dancers complain, it really means something," he says.
But women and men experience pain differently, and tend to be treated for it differently as well. Female dancers need to understand those differences before they go to a doctor, so they can make sure they get treated promptly and effectively.
Rebecca Warthen was on a year-long assignment with the Peace Corps in Dominica last fall when a storm started brewing. A former dancer with North Carolina Dance Theatre (now Charlotte Ballet) and Columbia City Ballet, she'd been sent to the Caribbean island nation to teach ballet at the Dominica Institute of the Arts and in outreach classes at public schools.
But nine and a half months into her assignment, a tropical storm grew into what would become Hurricane Maria—the worst national disaster in Dominica's history.
Sidra Bell is one of those choreographers whose movement dancers are drawn to. Exploring the juxtaposition of fierce athleticism and pure honesty in something as simple as stillness, her work brings her dancers to the depths of their abilities and the audience to the edge of their seats.