[Initial Perspective] Expectations for the Founding of Seoul City Ballet Company

Public Ballet Company Launched After 48 Years
Hoping to Become a New Driving Force in the Pure Arts Market

"It can be an opportunity to expand the ballet audience because the variety of performances that audiences can see will increase."

A National Ballet Company official said this regarding the founding of the Seoul City Ballet. This expressed an expectation that it is not a competitive relationship but can create a synergy effect.

The Seoul City Ballet, which has been preparing for its establishment since September last year, was officially founded on the 20th. It is the third public ballet company launched in a full 48 years since the founding of the National Ballet Company in 1962 and the Gwangju City Ballet Company in 1976.

At a press conference, Ahn Ho-sang, president of Sejong Center for the Performing Arts, which operates the Seoul City Ballet, also emphasized expanding the base. Since existing ballet companies, including the National Ballet Company, perform many classical ballet productions such as "Swan Lake" and "The Nutcracker," the Seoul City Ballet plans to focus on contemporary ballet. This means they intend to differentiate the Seoul City Ballet through new attempts.

From the left: dancer Hyoseon Park, dancer Yunseung Nam, dancer Jinho Won, dancer Sohe Kim, Mayor Sehoon Oh, choreographer Seongsu Ahn, CEO Hosang Ahn, dancer Heehyun Kim, choreographer Ruda Lee, choreographer Hoewoong Yoo [Photo by Sejong Center for the Performing Arts]

In July and August last year, I watched the National Ballet Company's Movement series and Triple Bill performances at the Seoul Arts Center. It was a stage where contemporary works by the National Ballet Company, which mainly performs classical ballet pieces, could be seen. Although the stage was as interesting as classical ballet works, the atmosphere in the audience was different from usual. Unlike classical ballet performances, where there are usually no empty seats, there were quite a few vacant seats.

Ballet audiences tend to focus on classical ballet. This is because classical ballet works show the glamorous and beautiful stages that the public typically associates with ballet performances. Sometimes, audiences feel unfamiliar with contemporary ballet, where dancers appear without wearing pointe shoes, which are considered a symbol of ballet.

However, it is impossible to keep showing only a limited number of classical ballet works to the audience. To expand the ballet market, attempts to present unfamiliar contemporary works or original ballet pieces must continue. In that regard, the founding of the Seoul City Ballet, which advocates contemporary ballet, seems to be a very meaningful move.

However, there are concerns about whether it is possible to operate a stable ballet company solely with contemporary ballet works, which have relatively less public preference.

President Ahn Ho-sang said at the conference that the proportion of contemporary ballet is increasing, and the global ballet trend is about 50-50 between classical and contemporary ballet. Conversely, this also means that classical ballet still holds a high proportion.

It also seems crucial how the Seoul City Ballet, which advocates contemporary ballet, can differentiate itself from modern dance groups like the National Contemporary Dance Company. In fact, from the public’s perspective, it is not easy to understand the difference between contemporary ballet, which sometimes does not use pointe shoes, and modern dance.

Ultimately, for the Seoul City Ballet to establish a firm identity as a contemporary ballet company, it is important to create works that leave a strong impression on audiences, whether contemporary or original ballet pieces, comparable to classical ballet works. This is directly related to nurturing capable choreographers.

The Monte Carlo Ballet, which visited Korea last October and performed "Romeo and Juliet," is recognized as a world-class contemporary ballet company. At its core is the world-renowned choreographer Jean-Christophe Maillot, who has led the Monte Carlo Ballet as artistic director since 1993.

We hope that the launch of this new public ballet company will serve as a catalyst to inject new vitality not only into ballet but also into the entire pure arts market.