As Misa Kuranaga rounded an arabesque promenade during the energy-devouring third act pas in Don Quixote last spring, her tutu began to quiver. The audience held its breath, waiting. Kuranaga could have stepped down, could have held her partner Jeffrey Cirio’s arm just a moment longer. But in a surge of conviction, she suddenly let go—and nailed her longest balance of the performance. The audience erupted in cheers. If anyone hadn’t fallen in love with her yet, they were won in that moment.

After nine years at Boston Ballet, Kuranaga, a seemingly effortless dancer, has reached her prime. But behind her success lies a deep reserve of tenacity and discipline. “When Misa sees something, she grabs it with both hands,” says ballet master Larissa Ponomarenko, one of Kuranaga’s coaches.

Growing up in Osaka, Japan, Kuranaga first made a name for herself in international ballet competitions. Initially, her mother had been hesitant to enroll Kuranaga in ballet classes after she lasted only a month in piano lessons. But she soon recognized her daughter’s love of ballet. When Kuranaga, then 17, won the 2001 Prix de Lausanne and earned an apprenticeship at San Francisco Ballet, her mother agreed she could go.

Once she arrived, she found herself on her own in a country where she could not speak the language and in a company with a strong Balanchine base, though she had no experience with the technique. The result? A bad case of culture shock. “I’d heard San Francisco Ballet was a good company, but I didn’t have any knowledge of the companies of the world and their different styles,” she says. “I didn’t know anything about Balanchine, and I was stubborn and didn’t adapt, and that delayed me.”  

At the end of the year, she wasn’t rehired. She auditioned for large and small companies, but no offers came. An SFB teacher told her that she would have to learn Balanchine if she wanted to work in the U.S. With no professional opportunities, Kuranaga saw a simple decision before her: Go home, or go back to school. She chose to persevere, and enrolled in the School of American Ballet the next year. “I was homeless-feeling,” she says. “Nobody needed me and the school almost didn’t take me. But I begged them, because I knew that was the only way I could improve.”

In New York, she sometimes felt discouraged: “After winning the competitions and going to San Francisco, here I am back at school, which people don’t usually do after dancing in a company. It was hard because I was older than everybody there, and different. But I needed to catch up on a lot of stuff.”

Kuranaga threw herself into her work. She finished high school and worked with an English tutor every day. By the end of the year, she had grown to love Balanchine’s musicality and footwork. Multiple job offers came. She chose Boston Ballet.
 
Once in the corps, Kuranaga worked to continue her improvement. “She arrived as a petite girl who was striving, striving, striving, and working, working, working—repeating one movement a million times until she got it to perfection,” says Ponomarenko. “It wasn’t that it came easily to her—or at least she didn’t think so. I think all of us could see the slow but consistent progress.”

Her first year she danced Cupid in Don Quixote; the very next year, she got her first principal role in La Sylphide. “I remember saying, ‘You know, I would really like to see you one day be a principal dancer,’ ” says artistic director Mikko Nissinen. “She had everything; we just needed to increase the volume.”

By 2006, Kuranaga felt ready to expand her reach by competing in the USA International Ballet Competition in Jackson, Mississippi. She decided to perform the Black Swan pas de deux. “At first, when she chose it, I didn’t think it was suitable for her,” says Ponomarenko. “Technically, of course, she was brilliant. But I always look for more than just technique: I look for story, character. And she delivered that.” Kuranaga won the gold, but perhaps more significantly, her performance helped launch a gala-dancing career that has taken her around the world. It may also have had an impact at her home company: She was promoted to soloist the next year, and principal in 2009.

For Kuranaga, preparations for performing, whether for a gala or a role, are as much mental as physical. Years of self-discipline have developed her talent for delivering at the crucial moment, as she showed in Don Quixote, but she still worries. “I wish I didn’t have to be nervous!” she says. “Before I went on for that pas in the third act, I was telling myself, ‘I’ve always done it. Why would I not be able to do it today?’ ”

Even now, Kuranaga goes over passages alone in the studio after hours. This year, Don Quixote proved the biggest challenge: “Jeff Cirio would leave the rehearsal, and then I would stay another two hours working on my solos by myself. They didn’t come easily to me.” Though the show was the 21-year-old Cirio’s first full-length story ballet, Kuranaga says that dancing alongside him forced her to become a better artist. “He does everything so perfectly that I feel like I need to step up to match his energy and technique,” she says.

When she’s not dancing, Kuranaga loves to shop, cook Japanese food and spend time with non-ballet friends. “When work is going well, work friends are an amazing thing,” she says. “But when it’s not, it’s good to have friends who are not dancers and don’t understand ballet at all, so you can talk about something else.”

If her performances this season are any measure, work seems to be going very well indeed. According to Nissinen, audiences will soon see more of her dynamite partnership with Cirio. “They both challenge each other—they’re both vivacious, both very secure technically,” says Nissinen. “I think there is much, much more to come.”

Ashley Rivers writes about dance from Boston, MA.



























Career
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I want to be a professional dancer, but my parents won't listen. They either don't think I can do it (contrary to what my teachers have said) or they won't let me take the necessary steps to become a professional. Please help. —Audrey

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Rigorous program, check. Well-rounded technical training, check. Purposeful liberal arts curriculum, check. Study your craft abroad, check! If you are looking for all the above, the Joan Phelps Palladino School of Dance at Dean College truly has it all.

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They say that pigeons mate for life—perhaps that's why these birds naturally symbolize the young lovers in Sir Frederick Ashton's The Two Pigeons. In these two clips from a 1987 performance in Pisa, Alessandra Ferri and Robert LaFosse—then stars with American Ballet Theatre and New York City Ballet, respectively—dance a rapturous pas de deux at the end of Act II. With tiny pricks of her feet and bird-like flaps of her elbows in Part 1, Ferri marks her anguish, thinking she's been abandoned for another woman. Later, both she and LaFosse grow more and more entangled as they reconcile, Ferri dancing with the passionate abandon she's famous for. I love how in Part 2 (0:20), they can't seem to get enough of each other as their necks arch and intertwine. At the end of the ballet, two pigeons fly in to perch symbolically on the chair—er, there's supposed to be two. It looks like one missed its cue at this performance! No matter—Ferri and LaFosse's dancing make it clear that these young lovers are meant to be together for life. Happy #TBT!

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Summer Study Advice
The author at 13, rehearsing at her home studio, Ballet Arts Theater, in Endicott, NY. Courtesy McGuire.

This story originally appeared in the December 2010/January 2011 issue of Pointe.

As a young student at a small ballet school in upstate New York, I was obsessed with getting into the School of American Ballet. From the age of 10, I entered class each day with the ultimate goal of studying at SAB dangling before me like a carrot on a stick. Every effort I made, every extra class I took was for the sole purpose of getting into what I thought was the only ballet school that really mattered.

I auditioned for SAB's summer program for the first time when I was 12. In the weeks that followed, I became a vulture hovering over my family's mail, squawking at my mother if the day's letters were not presented for my inspection when I walked through the door. The day the letter finally arrived, it was thin and limp. I cried for a week as I dealt with the crushing feeling of rejection for one of the first times in my life.

My mind filled with questions and self-doubt. What was wrong with me? Why wasn't I good enough? I figured I must be too fat, too slow, my feet too flat. I had worked so hard. I had wished on every fallen eyelash and dead dandelion in pursuit of my single goal, just to have a three-paragraph form letter conclude that I was a failure. For a while, I let myself wallow in the comfort of my resentment, content to believe that success should have come easily, and that to fall was the same as to fail.

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Pointe Stars
Photo by Theo Kossenas, Courtesy The Washington Ballet

You made a deal with your mom to take ballet classes in exchange for a ride to tryouts for the football team. How did that work?
I thought that I would take ballet for a couple months, become a master and then leave that alone and concentrate on football. Ballet had other ideas, which perplexed me, and ultimately, I think, made me fall in love with it.

How is The Washington Ballet evolving under Julie Kent's leadership?
It's still early, but I think that the company is growing stronger classically. And we have Julie, Victor Barbee, Xiomara Reyes and Rinat Imaev—a great team of people who are giving their input and expertise, which is quite helpful.

Mack in 'Swan Lake.' Photo by Theo Kossenas

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Summer Study Advice
Summer intensive students at the School of American Ballet. Photo by Rosalie O'Conner, Courtesy SAB.

As a young student, Shea McAdoo's classes at the Master Ballet Academy in Scottsdale, Arizona, were “strict, straightforward, very classical and purely Vaganova." She appreciated the Russian rigor and precision, but when she was accepted to the School of American Ballet's summer course at 13, she leapt at the chance to learn something new. The vastly different emphasis on Balanchine technique at SAB was illuminating: “It changed my whole way of thinking about musicality and accents. I'd never known there were so many ways to do a tendu! And the épaulement—I loved how they talked about light hitting your face, tilting your chin to show off your diamond earring."

McAdoo's experience was transformative, even when she returned home. “Of course, I lowered my arms back down in second and didn't cross my wrists," she says, “but there were stylistic choices I brought back with me." Today, as an apprentice with Oregon Ballet Theatre rehearsing Balanchine's Serenade, she credits her ease with the ballet's fluid port de bras to her summer at SAB.

Learning about ballet's various styles and techniques is an important part of a dancer's development. With summer intensive auditions approaching, it's a perfect time to consider broadening your training. While it can be initially confusing, immersing yourself in a style outside your comfort zone can be eye-opening and influential for your future training and career. And the benefits of diversifying your training can last beyond a single summer.


Shea McAdoo in OBT's production of "Paquita." Photo by James McGrew.

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