"Once I started auditioning, I realized that being 'different' made it difficult to find a job that fit me. Luckily, I didn’t let other people’s concerns about my height or skin color influence my belief in myself," Cissoko says
July cover story
THOMAS FORD • July 1, 2021
When Adji Cissoko was awarded a full scholarship to the Jacqueline Kennedy Onassis School at American Ballet Theatre, it seemed her career was on track to major success in the classical realm—and that foretelling would prove accurate, at least, for a while. After graduating, she would dance with the National Ballet of Canada, only to realize that, artistically, she had "a craving for more," she says.
That desire would take her to Along King LINES Ballet in San Francisco, CA, an artistic culture that not only suited her prowess, but celebrated all that she was—from her height (she's 5'10 and taller than the average professional ballerina) to her Senegalese heritage. Since, her tenure at LINES has been marked by global acclaim. DANCEBUZZ spoke with the ballet star about how she's pushed past racially charged obstacles, what she'd say to aspiring Black ballet dancers who are struggling to find their place in an art form dominated by whiteness and her reaction to the landmark donation that LINES—where Cissoko is currently a principal dancer—was recently endowed.
What initially connected you to ballet?
I was always drawn to movement and music. My dad plays the kora, a Senegalese string instrument. Whenever he played, I would dance and move around the house—I only started ballet due to my school doctor advising my parents that it would help my coordination and spatial awareness. Once I started ballet, I basically never stopped, and it became my profession that I love deeply.
You trained at the Jacqueline Kennedy Onassis School at American Ballet Theatre, before joining the National Ballet of Canada. What inspired you to change paths and explore contemporary ballet?
Dancing with the National Ballet, I mostly did corp de ballet work, which meant I had to fit in and “look the same" as the ensemble. It taught me a lot, but eventually, I had a craving for more—especially once I got a taste of what it meant to perform solo roles on stage in the few opportunities I got while at National Ballet of Canada. The idea that a choreographer could create on me and use all that I had to offer—rather than diminishing it to fit in—became really appealing. That’s why I auditioned for LINES and started working with the company just a month later.
Can you talk about your transition from classical to contemporary ballet?
It has been beyond liberating! I began to realize how much more there is to what I thought was “it.” I was overwhelmed with how many choices I had as a dancer and an artist. There’s a depth to the work we do that’s truly inspiring—and it gives us the responsibility to approach movement in new ways every day, asking ourselves questions like, how do you play with music and phrasing? What are you saying and expressing? Where is the movement coming from? ... and so on.
In other words, I get to dig deep—and I’m just as much a part of the creation of ballets as my director and my colleagues are. It is a collaborative effort—in terms of exploration and expression—and that helped me find myself and my voice, which is something I continue to do. The fact that [dance] is a never ending journey of play is fascinating to me.
LINES recently announced it received a landmark donation—the biggest in its history. How do you think this will change the trajectory of the company?
I think it will help us follow our dreams. Sometimes, our ideas can’t be realized because of budget restrictions. With the help of this generous donation, we can stop settling for less—in terms of travel, locations, costume and set ideas or artist collaborations for new creations.
Could you speak on the obstacles you've faced in your career as a Black dancer? How did you push through?
Coming from Germany and being one of the only Black dancers in my school, I remember being told that my chances of finding a job would be better in the States. Once I started auditioning, I realized that being "different" made it difficult to find a job that fit me. Luckily, I didn’t let other people’s concerns about my height or skin color influence my belief in myself, or my ability to find a job as a professional dancer.
What is your advice to young Black dancers who want to pursue a career in ballet or contemporary?
Embrace who you are. Individuality is beautiful, so don’t let others discourage you. Believe in yourself, work hard and follow your dreams!
Thomas Ford is a NYC-based dance artist and writer with bylines in ELLE, Dance Magazine and the Brooklyn Rail. He formerly served as a contributing editor at Dance Spirit. He is a year-round contemporary teacher at the Joffrey Ballet School (NYC), has presented choreographic works at prestigious dance venues, including The Joyce Theater and is currently pursuing his MFA in dance at Hunter College.
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