Originally published on metropolis.co.jp on April 2012
Japanese dancers are praised worldwide for their technical prowess, an impression confirmed by Madoka Sugai’s triumph at Switzerland’s Prix de Lausanne this year. Ballerina extraordinaire Mizuka Ueno, who won the prize in 1993, was a guest dancer this year. We met her upon her return from Europe.
The Tokyo Ballet’s principal dancer not only tours Japan extensively, but is in hot demand around the world. “I get to meet all these incredibly gifted dancers,” she says. “Each performance is a chance to deepen my knowledge of the art.”
Though classic ballet does not belong to Japan’s tradition, “fans here are incredibly passionate,” says Ueno. “I get the strongest emotions dancing in my own country. That’s one reason I decided to work here, instead of pursuing a career abroad.”
Last year Ueno took part in the “Hope Japan Tour,” featuring top French dancer Sylvie Guillem. “The tour was her idea,” Ueno points out. “We wanted to cheer up Japan after 3/11, so we performed in Iwate and Fukushima, among other places.”
There was a time when Ueno wasn’t even sure about her career. “I was lucky,” she says. “Early on I was surrounded by people who believed in me, beginning with my mother. For years I thought I wasn’t as good as other girls.” The turning point was winning in Lausanne when she was only 15. Her prize qualified her for a one-year scholarship to a renowned dance school. “I decided to attend Monaco’s Princess Grace Classic Dance Academy—even though I couldn’t speak any French,” she laughs.
Returning to Japan, Ueno shot to stardom with Asami Maki Ballet Tokyo, before joining The Tokyo Ballet in 2004. “That was difficult. I’d spent a wonderful time with the company, but felt it was time to pursue different projects. I wanted to perform abroad more, and The Tokyo Ballet gave me the chance.”
It was there Ueno met Naoki Takagishi, one of her more trusted dancing partners, whom she married in 2010. After all these years, Ueno still feels nervous every time she dances. “It’s a live performance, after all, and you’re out there without a safety net. At the same time, though, the stage is a world where magic happens every time.”
Speaking of magic and ballet, our conversation touches on ballet-related film Black Swan. “[Director Darren] Aronofsky did a great job describing what goes on both on- and off-stage, and I can relate with the protagonist’s problems,” she comments. “But our environment was portrayed a little too harshly.”
Last December Ueno starred in Maurice Bejart’s The Kabuki, based on the legend of the 47 ronin. In May she’ll perform it at the Palais Garnier in Paris. As for the future, she’s only sure about one thing: “I simply want to keep growing as a dancer. Even when you reach the top, you can never stop. Perfection is a difficult thing to attain.”
