The Queensland Ballet has announced it has appointed Li Cunxin as the company's new artistic director.
Li is a household name thanks to his best-selling autobiography, Mao's Last Dancer, and the ensuing feature film.
"I think I'm almost more surprised than anyone that I applied," he said today in a phone interview, explaining that he was head-hunted for the job. "I thought long and hard but then decided this was a great opportunity to give something back to the artform."
As he documents in his book, Li was selected at the age of 11 by Madam Mao's cultural advisors to attend the Beijing Dance Academy. In 1979 he joined Ben Stevenson's Houston Ballet and became a principal in 1982. In 1995 he joined the Australian Ballet, also as a principal. Li retired from ballet in 1999 at the age of 38 to pursue a career in the financial sector, and currently works in Melbourne as a senior manager at Bell Potter, one of the largest stockbroking firms in Australia. He is on the board of the Australian Ballet and the Bionics Institute. He is also a popular public speaker.
This will be his first appointment as an artistic director.
Though it is 12 years since he retired as a performer, "ballet has never left me," he said, "whether as a board member of the Australian Ballet, or judging competitions, or teaching, coaching or taking class myself to keep fit".
Li was chosen from an initial 44 applicants, from Australia and as far afield as the US, Germany, the UK and Switzerland. The final shortlist came down to Cunxin and an overseas candidate.
Cunxin will start officially in July and begin working on his 2013 season.
Outgoing artistic director Francois Klaus will leave the company at the end of 2012 (a year earlier than previously announced) to take up overseas opportunities.
Queensland Ballet Chair, Adjunct Professor Joan Sheldon, said the selection panel was impressed by Li's passion for the Queensland Ballet, his obvious artistic credentials, his extensive contacts and his knowledge of business. "Li's extraordinary career, international reputation, networks and commercial experience will provide the company with invaluable opportunities to build upon the achievements of our 52 year history," she said in the QB's press release. "The company can only benefit with Li leading us into the next chapter of our journey of renewal, growth and pursuit of creative excellence."
Li will be the first "curatorial" director in the QB's history, having no desire to choreograph himself. While he is yet to release details of his 2013 program, he expects to maintain "the pure classical ballets that move and inspire us" balanced by some contemporary ballet. "It's about getting the balance right." He also plans to keep some of Klaus's ballets in the repertoire.
For the full interview with Li, see the April/May issue of 'Dance Australia'.