Russia is often perceived as a closed book from abroad, and ballet is no exception. Though David Hallberg joined the Bolshoi Ballet in 2011, the country's top companies have been slow to open their ranks to non-Russians. Under acting director Yuri Fateyev, however, the venerable Mariinsky Ballet has welcomed a handful of dancers trained abroad. South Korea's Kimin Kim and Great Britain's Xander Parish initially struggled to fit in with the culture, but both have found their niche in St. Petersburg, and are thriving today among Russian colleagues.

"I had to adapt to the culture: Russian people are more critical, more emotional." (Photo by Nathan Sayers for Pointe magazine)

Kimin Kim

Growing up in South Korea, Kimin Kim always thought of himself as a Russian dancer. For the prodigy who honed his astounding technique and poise with Vaganova-trained teachers, being a principal with the Mariinsky Ballet was “the ultimate dream," he says. Earlier this year, it came true: At just 22, after three years in St. Petersburg, he was promoted to the top rank, the first foreigner to attain principal.

Kim's journey started at age 10, when his mother, a composer, decided she “didn't want him to be an ordinary person," as he puts it, and suggested he try ballet. Former Mariinsky soloists Margarita Kullik and Vladimir Kim (no relation) nurtured him at the Korea National University of Arts. By the age of 18, his precocious technique had earned him accolades at international competitions from Moscow to Varna, and his teachers told Mariinsky director Yuri Fateyev about their protégé.

Kim was invited to a private audition in 2011, and since he hadn't graduated from his Korean school yet, Fateyev created a six-month trainee contract for him. He spoke no Russian, so his teachers moved back to St. Petersburg to live with him; Vladimir Kim remains his coach there. “It was very hard at first, because I couldn't do anything on my own," the dancer remembers. “I also had to adapt to the culture: Russian people are more critical, more emotional."

His first role with the company was Ali in Le Corsaire, and word of his impeccable turns, soaring jumps and elegant demeanor spread fast. In 2012, he was promoted straight to first soloist, and has worked long hours to add roles, including Solor, Basilio and Albrecht, to his repertoire, as well as ballets by Alexei Ratmansky and Wayne McGregor.

Earlier this year, Fateyev decided Kim was ready for principal status, though in a time-honored Mariinsky tradition, no one told him; instead, while in the U.S. for Youth America Grand Prix's Stars of Today Meet the Stars of Tomorrow gala, he got a text from Vladimir Kim urging him to look at the Mariinsky's website. “I saw my face at the top of the roster, and I knew," Kim says.

Fateyev also suggested him to American Ballet Theatre for a guest spot in La Bayadère last spring. While Kim's international career is taking off, the young principal says Russia is his home now. “Ballets like Swan Lake and Don Quixote were born here. Russian people feel these ballets, and I want to improve my characters, to understand the culture." And now that he has reached his childhood goal, Kim jokes that he needs to find new ones: “Maybe I'd like to be director of the Mariinsky!"

"It took two years to prove myself as a dancer, to show I could be worthy of more." (Photo by Nathan Sayers for Pointe magazine)

Xander Parish

Xander Parish could be the poster child for late bloomers. The British-born dancer spent four and a half years at the back of The Royal Ballet's corps before Yuri Fateyev plucked him out of a class he was teaching in London and asked him to join the Mariinsky.

Parish's training wasn't as far from Russian as you'd expect: At The Royal Ballet School, he was taught in part by former Kirov dancer Anatoli Grigoriev. After he joined the British company in 2005, however, no opportunities came his way. “I was always the last one to get strength, even at school," Parish says. “The Royal wanted instant ability. They didn't have the patience to work with slow developers."

Fateyev saw potential in his long lines and tall stature, however, and Parish took a leap of faith, landing in St. Petersburg in 2010. Hired as a coryphée, he juggled corps and soloist duties while his two coaches, Fateyev and later Igor Petrov, set out to mold him into a prince. Parish estimates it took him three years to feel fully at home in the company. “After one year I'd made some friends. I could understand one percent of the language, give or take," he laughs. “And then it took two years to prove myself as a dancer, to improve my technique, to show I could be worthy of more."

His first leading role in an evening-length ballet, Albrecht in Giselle, was “make or break," he says. “I knew I had to do it well, or I probably wouldn't be doing it anymore." Fateyev was pleased, and more principal roles followed. In 2014, his performance of Aminta in Sir Frederick Ashton's Sylvia earned him the rank of second soloist—his first promotion, he notes self-deprecatingly, since he left school. When the 29-year-old returned to the UK with the Russian company in 2014, the transformation was complete: As Apollo, Parish embodied the young god's journey from clumsy innocence to classical purity.

Parish now spends his long days at the Mariinsky honing his technique and repertoire. Fateyev praises his acting, a British strength, and cast him last season in another Ashton classic, Marguerite and Armand, alongside Ulyana Lopatkina. The Mariinsky's two American conductors have become his close friends; all three live across the street from the theater, in apartments supplied by the company.

The first British dancer to join the Mariinsky hasn't forgotten his roots: He hopes to see Manon return to St. Petersburg, and would love to guest with The Royal Ballet. In the meantime, he relishes Russian ballet's intense work ethic. “Not everyone is an instant success, and it takes dancing to make dancing strong," he says. “Here, I was given the chance to grow into my body."


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If you're in the NYC area and are in need of weekend plans, you might want to consider heading to the Film Society of Lincoln Center to see Jean-Stéphane Bron's documentary, The Paris Opéra. While the film was originally released in France this past spring, it just made its way to the US on October 18th, and it chronicles the 2015-2016 season at the Paris Opera.

Encompassing the entire institution (which was founded in 1669 by King Louis XIV!), dancers will particularly enjoy an inside look at the Paris Opéra Ballet—both in rehearsals and onstage. Most notably, Bron captures the then POB director Benjamin Millepied as he decides to leave his position with the company barely a year after his appointment.

Check out the full trailer below, and the Film Society of Lincoln Center's full listing of showtimes here.

Your Training
Thinkstock.

Bianca Bulle was always prone to ankle sprains. When she was 18, her recoveries became more complicated: She started experiencing Achilles tendonitis due to muscle weakness and fluid buildup in the ankle. "The last thing to get back to normal would be my Achilles, which was so incredibly tight and painful," says Bulle, now a principal at Los Angeles Ballet.

The Achilles is the body's largest tendon, attaching the bottom of the calf muscles to the back of the heel. It contracts and releases as you relevé and plié, as well as when you jump and even walk. Tendonitis, or inflammation, of the Achilles is one of the most frequently reported overuse injuries among active people, according to the American Physical Therapy Association. You'll know it by the pain or tightness at the back of the heel. If the condition gets bad enough, the tendon can rupture, which requires surgery to fix.

Achilles tendonitis is especially common among dancers on pointe, but it's not inevitable. With rest and proper conditioning, you can work to avoid it with careful technique and a commitment to cross-training.


Boston Ballet School pre-professional students. Photo by Igor Burlak Photography, Courtesy Boston Ballet.

What Causes It?

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New York City Ballet in Marc Chagall's costume designs for Balanchine's "Firebird."

I am a self-confessed costume nerd who really needs little persuasion to travel nearly 3,000 miles to see a costume exhibition—which is what I did when I set off for California for the new exhibition at Los Angeles County Museum of Art: Chagall: Fantasies for the Stage. I knew Marc Chagall primarily for his sumptuous blue swirling paintings featuring violin-playing goats, his incredible ceiling at the Paris Opéra's Palais Garnier, and murals at the Metropolitan Opera House in New York City, so I was intrigued to see his work with ballet.

Marc Chagall (1887–1985), was born Moishe Zakharovich Shagal in Belarus. He later moved to St. Petersburg, Russia, to study art, apprenticing under famed Ballets Russes designer Leon Bakst. Chagall's work in ballet and opera, however, did not begin until he and his wife Bella arrived in the U.S. as World War II refugees in 1941.

Chagall: Fantasies for the Stage, adapted from an earlier exhibition at the Montreal Music of Art and curated by Yuval Sharon and Jason H. Thompson, is an exciting opportunity to see 41 costumes and nearly 100 designs. But it is the costumes that really steal the show. You won't see any tutus here, but instead amazing, almost cartoon-like realizations of Chagall's artwork. LACMA's exhibition runs through January 7, 2018. For those of you who can't make the trip like I did, here's a rundown of highlights.

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Tiler Peck in "Who Cares?". Photo by Paul Kolnik, Courtesy NYCB.

New York City Ballet principal Tiler Peck and Emmy-winning actress Elisabeth Moss (of Mad Men and Handmaid's Tale fame) may seem like unlikely friends, until you dig a little deeper into their backgrounds. Both attended Westside School of Ballet in Santa Monica and spent summers at the School of American Ballet in their youths. Moss and Peck's career paths diverged when the former fell in love with acting and Peck went on to study at SAB full time, eventually becoming the star we know today. Now, the pairs' artistic pursuits are uniting in an exciting new project.

According to Deadline.com, Moss will produce a documentary featuring Peck and her work curating BalletNOW, last summer's star-studded, critically acclaimed program at Los Angeles's Dorothy Chandler Pavilion. Peck was the first woman to lead BalletNOW's programming, and she brought together dancers from companies including The Royal Ballet, Miami City Ballet, American Ballet Theatre and the Paris Opéra Ballet, putting them on stage with tappers, clowns and break dancers (sometimes simultaneously).


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Your Best Body

Looking for creative and healthy ways to get your pumpkin fix this fall? First, back away from the pumpkin-spiced latte—the season's unofficial drink is often laced with sugary syrup and comes with a complimentary mid-rehearsal crash. Instead, try these simple snacks with puréed pumpkin. It's high in beta-carotene, which converts to immunity-boosting vitamin A, and is a good source of vitamin K, iron and fiber. You can buy it canned or make the purée from a "sugar" or "pie" pumpkin (they're commonly available at grocery stores or farm markets).

Fruit-and-Spice Toast

- Spread purée onto whole-grain toast.

- Top with sliced pear.

- Add a dash of cinnamon.

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Pointe Stars

When Maya Plisetskaya first toured abroad with the Bolshoi Ballet, she stunned the world. Her dramatic and technical abilities were far beyond what anyone outside the Soviet Union had seen before. She quickly became an icon, symbolizing Russian ballet.

Plisetskaya was the perfect ballerina to play the Tsar Maiden in The Little Humpbacked Horse when choreographer Alexander Radunsky and composer Rodion Shchedrin recreated the classic Russian folktale in the 1960s. This vintage clip of the ballet offers a glimpse into an era gone by. Although ballet technique has advanced since then, Plisetskaya's performance is still electrifying. She is daring and agile in her manèges and fouettés, while she shows gentle purity and authentic emotion in the pas de deux with the wide-eyed Ivan. Even half a century later, this magnificent artist continues to transfix us with her radiant presence onstage. Happy #ThrowbackThursday!


Pointe Stars
P.O. Alienz in Lavender Leotard; Paulina Waski modelling a Kreature Kulture t-shirt. Photos Courtesy Paulina Waski.

Walk into any ballet class and you're bound to see a row of dancers clad in leotards patterned with dainty flowers and lace. But nearly three years ago, American Ballet Theatre corps dancer Paulina Waski wore a very different kind of leotard to class—and her colleagues loved it. Now an average day at ABT includes any number of dancers in leotards featuring angry aliens, detached eyeballs and grinning monsters.

"My dad, John, is an artist, and he draws all these crazy creatures," Waski explains. "One year he did what he called his paper plate project; he drew a new creature onto a paper plate every single day for 365 days. I thought, 'he should put one on a leotard!' He screen printed one onto one of my old leotards himself, and when I wore it to class everyone was wowed." And so, Kreature Kulture was born.


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