We were lucky to catch up with Evan King recently and have shared our conversation below.

Hi Evan, thanks for joining us today. Do you wish you had started sooner?

As a freelance ballet dancer, the question of whether to begin ballet earlier or later always intrigues me. While many would consider it a straightforward decision to start sooner, my perspective differs – not necessarily.

Commencing ballet at a later stage does present its own set of challenges, such as grappling with flexibility limitations or requiring more focused conditioning. Despite the political and cultural context I navigated during my youth while trying to discover my true passions, pursuing ballet as a career never seemed viable. It took time for me to accumulate life experiences that fostered a profound emotional connection with this art form, enabling more expressive and nuanced performances.

Embarking on ballet as an adult provides a unique source of intrinsic motivation, resulting in a heightened level of dedication and perseverance. This commitment becomes a driving force, increasing the likelihood of overcoming challenges and remaining steadfast in training.

The belief that it’s never too late to embark on a ballet journey underscores the potential for experiencing the physical, mental, and emotional rewards that accompany it.

Perhaps I might have considered starting ballet at the age of 15 or even 18, but my prior engagement in other forms of artistic training during my younger years led me to realize that my personal needs extended beyond ballet classes. Incorporating workouts, conditioning, and even yoga classes became essential components of my holistic approach to artistic development.

Evan, love having you share your insights with us. Before we ask you more questions, maybe you can take a moment to introduce yourself to our readers who might have missed our earlier conversations?

I am Evan King, currently live in Los Angeles. My artistic endeavors span sculptures, installations, photography, and videos. In addition to my visual arts pursuits, I took my first ballet class at the age of 20, and being serious plunge into training after I turned 23. Blessed with the unwavering support of my parents, I’ve felt fortunate and somewhat isolated in my unique journey. My creative journey commenced at a young age – painting and drawing at 3, picking up the violin at 9, and finding myself at the prestigious China Central Academy of Fine Art at age of 16.

The quest for identity and belonging has been a constant companion, particularly since receiving an offer from my “dream university” in Australia seven years ago. Despite my father’s suggestion to pursue architecture, witnessing my first ballet performance altered the course of my aspirations.

The past six years in Los Angeles have been a true liberation for me. Immersed in my passion for art, I ventured into ballet at 20, balancing classes while undertaking a full term at the ArtCenter College of Design. Amidst cultural adjustments, both aesthetically and ideologically, ballet has provided an unparalleled source of joy and being accomplished something greater than life form.

Drawing a comparison between playing the violin and doing ballet, I find myself transitioning from playing an instrument to being an instrument. Echoing George Balanchine’s words, “Dancing is music made visible,” and “See the music, hear the dance,” entering a ballet studio worldwide remains an inspirational and serene experience for me.

Let’s talk about resilience next – do you have a story you can share with us?

For two decades of my life, I dwelled in an environment where I perpetually felt like an outsider, a sense of not truly belonging. Shaped by my surroundings, there were times I emerged as a form not of my own design. Growing up in a society marked by redaction, the constant political turmoil fostered a complex and chaotic relationship with those close to me, both physically and now mentally. Amidst the seeds of mistrust, everyone became a potential adversary, yet my determination to remain transparent persisted. Constant vigilance and self-censorship, an attempt to distance myself from unnecessary free speech, became a lesson I learned upon moving to the U.S.

Embarking on ballet felt like a detoxing process, shedding the mental weight that accompanied my initial weight of 220 lbs. Body shame had always been a persistent companion.

In the realm of ballet, unhappiness intertwined with life. A friend tried to console me when I didn’t secure a spot in a ballet summer school in 2020. Furthermore, in 2021, I faced a setback when I broke my 5th metatarsal during a beginner ballet class.

Age discrimination in ballet is a topic I’ve always wanted to address. While many open classes, companies, or training institutions proclaim their love for adult dancers, the reality often reflects a money-driven machine. As I endeavored to take ballet more seriously, the realization hit that, at 25 years old, the path to becoming a professional ballet dancer is not without significant challenges. But I will still try on something that would be impossible, just like when I started doing ballet.

In your view, what can society to do to best support artists, creatives and a thriving creative ecosystem?

Drawing from my personal experience, I find myself entangled in a phase of contemplation regarding whether to fully commit to a career as a ballet dancer. The crux of this deliberation consistently revolves around the aspect of opportunities, overshadowing the intrinsic competition inherent in this art form. While I am fortunate to have teachers who wholeheartedly support me, serving as mentors akin to father figures, the overarching leadership often appears indifferent to individual development. Their focus tends to center solely on what benefits the collective entity, neglecting the nuanced journey of each artist.

A prevailing narrative that echoes across the ballet landscape in America is the perpetual struggle for financial resources. It’s an understandable reality, yet one that leaves me perplexed. The scenario where financial support hinges on the benefactor’s influence over a ballet company is a disheartening occurrence that occurs far too frequently. The nexus between donated funds and the subsequent sway it holds over a ballet institution often leaves a lingering sense of distaste.

The lack of financial backing appears to be a pervasive theme wherever ballet treads on American soil. It’s a reality I grasp, but one that eludes full comprehension. When a philanthropic group contributes funds, the ballet company becomes almost beholden to its benefactors. The consequences of this dynamic can be disheartening, as the focus shifts from artistic pursuits to accommodating the desires of those who hold the purse strings.

In essence, my personal journey in the ballet world has illuminated the stark contrast between the genuine support received from individual mentors and the transactional nature that seems to permeate higher echelons. While the passion and dedication of teachers fuel the pursuit of artistic excellence, the overarching ballet landscape often grapples with a complex interplay of financial constraints, individual aspirations, and the compromises made to sustain the art form. Navigating through these intricacies requires a delicate balance, one that strives to preserve the integrity of ballet while acknowledging the practicalities that come with the pursuit of this beautiful yet challenging art.

Contact Info:

• Instagram: https://www.instagram.com/real_evan_king/

Image Credits
Studio Photos: Pas de Deux partner with Lily Wills, Photographer – Tatiana Wills Stage Photo: Nutcracker Production with Marat Daukayev 2023 Royal Danish Ballet Summer School Showcase 2023