Spigner in company class while on tour in New York City. "Culturally, how the dancers here think and work is very different from the West. You learn to respect that and take a little bit for yourself." —Jonathan Spigner

Photos by Kyle Froman for Pointe

As Hong Kong Ballet corps member Xia Jun rehearses his solo from Krzysztof Pastor's In Light and Shadow, a distinct Eastern flavor of movement exudes from the suppleness of his port de bras and the articulation of his à la seconde extension. The ballet master calls out corrections in Mandarin, and Swedish-born artistic director Madeleine Onne offers critiques in English.

The company, just hours away from its March debut at The Joyce Theater in New York City, is a reflection of the international diversity found in the cosmopolitan city of Hong Kong. In addition to full-length classical ballets, Onne—who was the artistic director of the Royal Swedish Ballet prior to heading Hong Kong Ballet—has brought in more Balanchine repertoire and contemporary works from Europe, as well as new commissions by Chinese choreographers. From its repertoire to its roster, Hong Kong Ballet is a mix of East and West. “The majority of the company is Chinese," says Onne, “but I like to spice it up with Western dancers, too."

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