Kimin Kim: The accidental dancer who became a superstar at Mariinsky Ballet
Mariinsky Ballet principal artist Kimin Kim underscores the importance of being expressive on stage. “As a dancer, you should be able to inspire, let audiences feel your emotions with your movement.”
By Jv Ramos
Among the milestones of Ballet Manila’s 30th year was performing Don Quixote with world-renowned danseur, Kimin Kim, as Basilio. Born in Korea and the first non-Russian artist to be named principal dancer of the centuries-old Mariinsky Ballet (formerly Kirov Ballet), Kimin was taught by Vladimir Kim and Margarita Kulik, friends and colleagues of Ballet Manila artistic director Lisa Macuja Elizalde since her days at the Vaganova Academy (known as the Leningrad Choreographic Institute during her time there from 1982 to 1984).
A critic described Kimin Kim’s performance in Ballet Manila’s Don Quixote this way: “His solos were a study in elevation and clarity. He suspended himself midair in scissor jumps, legs opening and closing like blades before returning to earth with precision.”
“When their careers ended at the Mariinsky, they went to Korea and we met at my school, KNUA (Korea National University of Arts), and that’s how this all started,” shares Kimin in an episode of Art 2 Art, the art-advocacy program that Lisa hosts and is aired on radio via DZRH, cable television via DZRH News Television and online via ww.dzrh.com.ph and YouTube.
But how he had his beginnings in ballet was purely accidental. “When I was young, I tried everything – taekwondo, ski, skate, football… but one day, my mother recommended me to try to dance,” he recalls.
While he had good coordination, Kimin says he found ballet difficult but it served as a challenge for him to continue doing it. He later took Vaganova lessons together his older brother, Kiwan Kim, who’s a principal dancer with the Korean National Ballet.
Asked what it was like to train in the same activity with a sibling, Kimin points out that his journey was easier than others since he didn’t go through it alone. “In ballet, there are days when things become really hard, and we were always there to help each other out. We also pushed each other to be better growing up. And even today, we still call each other every day. We watch each other’s videos, and he’s there to give corrections and advice. He’s not just a brother to me, but also a very close friend.”
Ballet Manila artistic director Lisa Macuja Elizalde and Kimin Kim have the Mariinsky Ballet in common. She was the first foreigner to be invited to join the Russian company in 1984; in 2015, he became its first foreign-born principal dancer.
And what are some things that Kimin remembers from his 10 years of training with Vladimir Kim and Margarita Kulik? He describes they were like second parents to him – he even calls Vladimir “Papa” – and credits them for turning him into the dancer he is today. “I was a very good technician. But they always reminded me that though technique is important, it isn’t everything! As a dancer, you should be able to inspire, let audiences feel your emotions with your movement. I always think of this whenever I dance.”
He adds, “I also remember watching Lisa’s videos on repeat when I was a young boy, so being here [in Manila] and dancing in front of Lisa is such a big honor.” Lisa, who was the first foreigner to be invited to join the Kirov Ballet, back in 1984, somehow showed Kimin through her example that it was possible for a non-Russian to dance principal roles in a prestigious ballet company. “Yes, it was Vladimir who recommended that I audition for Mariinsky, and I left Korea between eighteen and nineteen be part of the Mariinsky Ballet.”
In Russia, he had to adjust to a different language, culture and even weather. But he recalls that the biggest culture shock was seeing the way people could be so expressive. “In Asia, you grow (up) suppressing your emotions, so I wasn’t used to it. But later, it made me understand why many of their dancers are legendary. They move with so much feeling, and I try to be that way.”
In the ’80s, Lisa had to fight homesickness when she moved to Russia to train, and while communication is readily available today, Kimin also went through similar struggles. “There were times when I’d avoid calling my family, because talking to my parents and my brother made me feel lonely. I also remember avoiding K-drama or listening to K-pop just so I wouldn’t miss home so much.” It was clearly difficult for Kimin to be away from family, but he also knew that he needed to stay to fulfill his dreams.
Kimin dances up a storm in Don Quixote with fellow Mariinsky Ballet principal artist Renata Shakirova as his Kitri.
“My dream back then was all about repertoire – to dance all the different roles – it was never to be a principal. So when the promotion to principal happened, I was very surprised, I was happy that I called everyone about it. I also felt proud not for myself but for my country. It was a feeling that I thought would continue for a month to about six months, but it left me after an hour or two!” he laughs.
Kimin explains that there was no time to bask in those “cloud nine” feelings, because he had to focus on the next performance. At that time, it was a gala in the United States, and his schedule just kept getting tighter from there. He even shares that it’s been a long time since Lisa first invited him to perform with Ballet Manila, but it’s only in 2025 that his schedule actually freed up.
Kimin notes what his dream as a dancer is now. “Before I dance any role, I always think about who they are, what they do and what they feel. It's only after I feel who they are that my movement becomes more real. Technique is just technique. When you jump or turn, audiences love it, but I really want audiences to feel something more that after many months or even 10 years, they still remember my performance. I think this can only be done if you show emotions through the movement. It’s my dream to achieve this each time I dance."
Interviewed in Lisa Macuja’s Art 2 Art program, Kimin recalls how he got started in ballet by accident – when his mother suggested that he try it.
During his visit to the Philippines last August, Kimin had the chance to enjoy the waters of Boracay and indulge in the local cuisine. “Half of my salary goes to food, you know. I’m a real foodie. I try all sorts of food when I’m not performing or traveling for a performance. Here, I tried so many fruits. I liked the halo-halo, different kinds of greens, and the taho. That was surprising at first, but I love it! I’m so happy about the experience that I’ve had here.”
Kimin enthuses that he was happiest about being welcomed into the Ballet Manila fold by fellow dancers and the staff. Getting to dance as Basilio – a role he performed for his Mariinsky audition – was made even more special by the warmth and kindness of the company and local audiences. “Renata [Shakirova, his fellow principal at the Mariinsky Ballet, who played his Kitri], was right about Ballet Manila being so warm. It’s touching, and I really hope that I’m invited again to perform here.”
As the happy-go-lucky Basilio, Kimin is said to be a natural comedian whose artistry is as memorable as his technique.
Watch the full episode of Art 2 Art with Lisa Macuja Elizalde featuring Kimin Kim:
Kim Kimin: Art 2 Art with Lisa Macuja Elizalde
See also:
Ballet Manila caps 30th anniversary season with Mariinsky Ballet superstars in ‘Don Quixote’
