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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Photographed by Jayme Thornton for Pointe.

If you are a dance lover in South Korea, EunWon Lee is a household name. The delicate ballerina and former principal at the Korean National Ballet danced every major classical role to critical acclaim, including Odette/Odile, Giselle, Kitri, Nikiya and Gamzatti. Then, at the peak of her career, Lee left it all behind.

In 2016, she moved to Washington, DC, to join The Washington Ballet. The company of 26 is unranked, making Lee simply a dancer—not a soloist, not a principal and not a star, like she was back home.

"I try to challenge myself, and always I had the urge to widen my experience and continue to improve," she says one blustery winter day after company class, still glowing from the exertion of honing, stretching and strengthening. "When I had a chance to work with Julie Kent, I didn't hesitate."

Lee with Brooklyn Mack in the "Le Corsaire" pas de deux. Photo by Theo Kossenas, Courtesy TWB.

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Photo by Matthew Murphy

We do a lot of fast frappé combinations at barre, but my footwork is still a mess. Do you have any tips? —Anna

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Audition Advice
Photo by Jim Lafferty for Pointe.

Have you ever attended an audition and wished that you knew what the director was looking for? We've rounded up some of our favorite quotes from our Director's Notes column over the past few years to give you a deeper glimpse into the minds of 10 artistic directors.

Ashley Wheater, Joffrey Ballet

"I want to develop and nurture artists," says Wheater, seeking "people who are not afraid to be expressive, and understand all the layers that go into making a work above and beyond the steps."

Ingrid Lorentzen, Norwegian National Ballet

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Photo via Instagram.

When you spend as much time on the road as The Royal Ballet's Steven McRae, getting access to a proper gym can be a hassle. To stay fit, the Australian-born principal turns to calisthenics—the old-school art of developing aerobic ability and strength with little to no equipment.

"It's basically just using your own body weight," McRae explains. "In terms of partnering, I'm not going to dance with a ballerina who is bigger than me, so if I can sustain my own body weight, then in my head I should be fine."

Today, McRae shares videos of his workouts on social media (where he has approximately 150,000 Instagram followers). They are often shot in his dressing room, with a chair as the only prop while he does développés from an arched handstand, for instance—a feat of upper-body strength and flexibility.

"I think people are genuinely intrigued and interested in what we do: I get lovely comments offering suggestions to alter the exercise."

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Ballet Stars
Photo via @abtofficial on Instagram.

Though according to our calendars today is the first day of spring, it feels like anything but. That's why we've been extra jealous watching American Ballet Theatre dancers' Instagram posts from their tour to Singapore. From swimming in rooftop pools to hiking with monkeys to jet-lag influenced shenanigans (oh, and dancing Swan Lake), their photos are making us believe that warm weather really is on its way. We rounded up some of our favorite shots from the first half of ABT's Asian tour; they'll spend this week in Hong Kong dancing Alexei Ratmansky's Whipped Cream. Keep the photos coming, ABT!

Rather than cling onto the railing in fear (like we would have), Isabella Boylston stepped gracefully into the highest pool in the world with a low arabesque.

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What's going on in ballet this week? We've pulled together some highlights.

The Bolshoi Premiere of John Neumeier's Anna Karenina

Last July Hamburg Ballet presented the world premiere of John Neumeier's Anna Karenina, a modern adaptation on Leo Tolstoy's famous novel. Hamburg Ballet coproduced the full-length ballet with the National Ballet of Canada and the Bolshoi, the latter of which will premiere the work March 23 (NBoC will have its premiere in November). The production will feature Bolshoi star Svetlana Zakharova in the title role. This is especially fitting as Neumeier's initial inspiration for the ballet came from Zakharova while they were working together on his Lady of the Camellias. The following video delves into what makes this production stand out.

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Ballet Careers
Beijing Dance Academy students Pei Yu Meng and Wang Yuzhiwan in rehearsal. Photo Courtesy BDA.

In one of 60 spacious dance studios at the Beijing Dance Academy, Pei Yu Meng practices a tricky step from Jorma Elo's Over Glow. She's standing among other students, but they all work alone, with the help of teachers calling out corrections from the front of the room. On top of her strong classical foundation and clean balletic lines, Pei Yu's slithery coordination and laser-sharp focus give her dancing a polished gleam. Once she's mastered the pirouette she's been struggling with, she repeats the step over and over until the clock reaches 12 pm for lunch. Here, every moment is a chance to approach perfection.

Pei Yu came to the school at age 10 from Hebei, a province near Beijing. Now 20, and in her third year of BDA's professional program, she is an example of a new kind of Chinese ballet student. Founded in 1954 by the country's communist government, BDA is a fully state-funded professional training school with close to 3,000 students and 275 full-time teachers over four departments (ballet, classical Chinese dance, social dance and musical theater). It offers degrees in performance, choreography and more. BDA's ballet program has long been known for fostering pristine Russian-style talent. But since 2011, the school has made major efforts to broaden ballet students' knowledge of Chinese dance traditions and the works of Western contemporary ballet choreographers. Pointe went inside this prestigious academy to see how BDA trains its dancers.

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