Compañía Nacional de Danza

You were born in Yokohama Japan. What makes you interested in dance?

My first dance-related experience was watching the shows and parades at Tokyo Disney Land. My parents took me there very often when I was little, I really enjoyed seeing the combination of music and dance! Since I was little I have had entertainment around me and I think that is why I started dancing.

You trained at the Austrian Ballet School in Tokyo and later at the Tokyo City Ballet. What was teaching like in those two Japanese schools? Do you think it is very different from the rest of the world?

I started dancing at the local ballet school as a hobby, later, when I started thinking about becoming a professional, I changed schools to train better. First at Tokyo City Ballet, the teacher gave us a variety of steps and combinations in class. At the Austrian Ballet School in Tokyo, I learned ballet technique in general, but more than that, I learned something important. My teachers made me aware of the different values ​​and the different way of thinking regarding ballet. Each one of us has a different body and possibilities and my teacher approached each student in a definitive way. We not only focus on overcoming weaknesses, but also on improving our strengths. I also learned that I have to take care of every little detail to attract the public and express myself better. It made me think about how important it is to know a good teacher who can take care of each and every one of us.

In 2014 you joined the National Silesian Theater in the Czech Republic as a soloist. What is the difference between dancing as a soloist and as a corps de ballet?

Dancing solo roles is very valuable to me. First of all, it is not easy to have an opportunity and it is a great challenge to progress and work for it but, at the same time, it is a responsibility to dance leading roles because I feel that it means that I am also representing the company. Maybe I felt that way because I was young and it was my first company in Europe as a professional ballet dancer. All in all, it was a great experience to start my career.

One of the most iconic roles you have danced is the duet of Odette and Odile, from Swan Lake. How did you approach the construction of such different characters in the same ballet?

Expressiveness is necessary to play two similar but different roles. That’s why I became obsessed with how to use my arms, how to express emotions, and I tried to improve the technique accordingly. I also did a lot of research by watching videos and tried to imitate them over and over again to find what suited me. Of course, the ballet teacher and partner helped me during rehearsal time in the studio. Facing myself and the roles, I think that over time I found my own way of dancing Swan Lake.

In 2017 you traveled to Greece, where you joined the Greek National Opera Ballet, and this time as a corps de ballet. What was it like to join a new company and return to dancing as a corps de ballet? Was it difficult for you to get used to the dynamics?

Having a new life in a country different from yours is always full of expectations but also nerves! For example, not being able to understand the language is a factor that causes me some anxiety. So I try to rely on useful words for ballet class and rehearsals. Fortunately, I had the opportunity to dance solo roles in Greece, even being part of the corps de ballet. Of course, it’s always nice to be a soloist, but in general I don’t care about the title. For me it is not important to be a dancer or a soloist. It’s more about how you work wherever you are, and the most important thing is that you are happy with yourself.

One of the pieces you dance during your stay in Greece is Herrumbe, by Nacho Duato, former director of the Company. What was it like dancing it?

Dancing Nacho Duato’s piece is one of the best memories of my stay in Greece. I felt there was a very powerful message in this piece and I was one of the soldiers, so I tried to create a sharp, strong and powerful movement. Music helped me immerse myself in it. I liked the way of composing the scenario using the structure of the piece. The structure moved by the dancers has different expressions.

Costumes are a very important part of ballet performances, because beyond aesthetics they influence your movements. Do you remember your favorite costume and the ballet you used it in?

I like the one with medium long skirts and very light and thin materials. It gives you more movement when dancing and makes me feel good. For example, the Spring Fairy from Cinderella, by Paul Chalmer, would be my chosen one.

You are one of the most recent dancers of the CND, which is currently directed by Joaquín De Luz. What made you interested in the Company and Spain?

Currently I like neoclassical more, but I also like classical and contemporary ballet. The CND has many different styles of repertoires as a production. I am grateful in this environment, which has a great artistic team led by Joaquín De Luz. Working and spending time with high-level and quality dancers makes me happy and motivates me.

How are you experiencing your entry into the CND? And taking advantage of the fact that it’s your birthday, what is your favorite candy or food?

I am very happy to be here, I have started doing gyrotonic and also learning Spanish! Madrid is a city that allows me to take on new challenges and experiences! And… let me tell you that my favorite food is Japanese but, in reality, I am a big fan of Spanish food. Paella, potato omelette and croquettes… are my favorites! I haven’t had the chance to try the churros with chocolate yet…I hope to try them very soon!