Why Do Korean Dancers Leave Home? Global Ballet Leaders Ask

The rapid rise of South Korean dancers on the global stage has prompted international ballet leaders to question the domestic landscape of the art form. At the first Seoul Global Ballet Forum, artistic directors from renowned companies like the Boston Ballet, American Ballet Theatre (ABT), and Mariinsky Ballet lauded the exceptional talent and dedication of Korean dancers.

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Korean dancers are the 'best products' in terms of business. But what I'm curious about is why Korean dancers want to leave Korea. Why do they want to go to foreign ballet companies instead of Korea?

Miko Nissinen, artistic director of the Boston Ballet, directly posed the central question: "Korean dancers are the 'best products' in terms of business. But what I'm curious about is why Korean dancers want to leave Korea. Why do they want to go to foreign ballet companies instead of Korea?" He emphasized the importance of developing Korean ballet companies to a point where both domestic and international stars would want to remain and contribute.

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It's no exaggeration to say the center of gravity in world ballet has shifted to Korea.

Directors like Sasha Radetsky of ABT Studio Company stated that "it's no exaggeration to say the center of gravity in world ballet has shifted to Korea." They praised Korean dancers for their strong fundamentals, flexibility, humility, open attitude, and strong will. Kenta Kura, principal of Japan's K-Ballet School, noted Korea's success in nurturing new talent amidst declining interest in ballet in other Asian countries, while Ingrid Lorentzen of the Norwegian National Ballet expressed a desire to understand the "source" of Korean ballet's strength.

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Artists don't suddenly become great artists right after graduation. Schools are training institutions, and they should focus on that.

However, the forum also addressed the pressures faced by young dancers. Susan Jaffe, artistic director of ABT, advised that "artists don't suddenly become great artists right after graduation." She stressed that schools should focus on training, while artistic development often blossoms through mentorship within ballet companies. Jaffe encouraged Korean students to "enjoy and savor what they have learned and achieved at school" rather than feeling pressured to attain full artistry immediately. Ted Brandsen, former director of the Dutch National Ballet, echoed Nissinen's sentiment, suggesting that government support and donations are crucial for creating an environment where Korean dancers want to return and foreign dancers want to join Korean companies.

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To have Korean dancers return and foreign dancers want to join Korean ballet companies, government support and donations (for ballet development) are necessary.