If one were asked to compile a list of professions that encompass the definition of grit, ballet would surely rank near the top. Although many children in Hong Kong have some experience of the art – perfecting pirouettes and pliés in ballet school, taking part in festive performances on school stages and some even confessing to toying with ideas of pursuing it as a career – it remains a remote dream for all but the most assiduous, for behind the glamour lies a long and arduous road.
“When I was only 11, a dance teacher came to my school in Zhejiang to assess us on our athleticism and talent,” says Shen Jie, now the principal dancer of the Hong Kong Ballet. “I knew nothing of dance initially, but I was somehow chosen among my peers for a formal assessment of my abilities.”
Once selected, the following few years were a gruelling experience that Shen matter-of-factly describes as “almost militaristic” – early alarms for pre-breakfast practice followed by more strenuous routines and drills, and theoretical learning. Every hour was dedicated to technique development or choreography, but it was this very road that led to what Shen considers his “destiny” – a career as a leading ballet dancer.
“I first came to Hong Kong when I was 16 to join a summer camp at the Jean M Wong School of Ballet. That was definitely a pivotal moment for me. Following that, I returned a couple of years later under a full scholarship programme at the Hong Kong Academy for Performing Arts. I ultimately joined the Hong Kong Ballet in 2007, becoming a soloist in 2013 and, eventually, achieving the status of principal dancer in 2016.”
For those keeping track, Shen’s meteoric rise in the company occurred in the timeline of less than a decade. It’s a truly remarkable feat.
“I will say it was a combination of really hard work and, to some degree, luck. I was given the opportunity to perform some truly incredible pieces of choreography where I was able to really challenge myself and continue improving. I learnt a lot in those transitional years, but I’ll happily say it again: I think it was destiny that led me to where I am.”
He doesn’t just mean professionally. Shen met his wife, Hong Kong Ballet soloist Dong Ruixue, after she joined the company in 2011.
“We were practicing and training a lot together for The Merry Widow around that time. She had so much poise and was so elegant,” he says. “We recently welcomed our second child, so I’ve been rushing to get home to spend more time with the little ones after work every day. Whenever I have a free moment, I’m with my wife and children. Everyone has their own way of unwinding, but once you have a family, it’s coming home that’s the most calming and fulfilling.”
For all the intensity of the performing-arts world, Shen says the pandemic has proved another huge challenge.
“On top of the performances and productions we had to postpone, we also had to pivot to a more digital way of action. Streamed performances, ballet game shows and even Ballet 101 classes were some of the changes we had to incorporate. We also took this chance to collaborate with various local arts organisations.
“A major deterrent, though, was when the studio had to be closed and we had to practice at home. There’s little space in Hong Kong apartments to dance, so that wasn’t ideal. Despite that, I think everyone in the company worked really hard to keep up their abilities and skills in the limited environment we had.”
Recently, Shen starred in the Hong Kong Ballet’s world premiere of The Nutcracker, a riveting reimagination
of the magnum opus that features dazzling original choreography by artistic director Septime Webre. The larger-than-life sets, created by designers Gabriela Tylesova and Albert Au, features nostalgic pops that recall various Hong Kong traditions. More than 240 intricately designed, vintage-inspired costumes were also created for the production.
“It’s a joy to be able to perform live,” says Shen of the production. “Everyone in the Hong Kong Ballet has very good relationships and bonds with each other. I find my team to be very encouraging and supportive. It’s like we’re a big family. That’s why I’ve been here so long.”
Such moral support from colleagues is vital, especially in the event of unexpected setbacks.
“Accidents happen more frequently than you’d expect,” Shen admits. “In some instances, we’ve had to switch partners at the last minute, or even step up to perform as a different character with a totally separate choreography. That’s why it’s so important we have a tight-knit relationship professionally. We have to be attentive to the entire performance, not just our own. Ballet is a collaborative effort that requires a lot of trust.”
When it comes to persistence, precision and consistency in art, professional ballet comes second to none. “Passion is important, of course, but hard work and determination truly triumph in this field. When I dance, I’m very present, very in the moment – it’s like a pause in time when I can focus on the stage and forget all my worries. It’s very therapeutic. To be able to work in a profession that I love is a privilege that I’m very thankful for.”
At 33, Shen continues to hit his stride with grace, and is in the unique position of having already spent two-thirds of his life perfecting his skill, an endeavour that he confesses is one that “never really ends”.
“Perseverance is a must on the road to becoming successful in all career paths and, with ballet, there’s always something that I’m learning every day. There’s always another way to improve or develop, and when there are days I feel particularly tired or hopeless, that’s when I push extra hard. You have to be mentally strong. After all, as the saying goes, today’s hard work is tomorrow’s success.”
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