While technical excellence remains at the heart of the profession, today’s ballet artists are increasingly expected to wear many hats. International collaborations, cultural exchange, original creative work and educational initiatives have become integral parts of building a sustainable career in the performing arts.
New York-based ballet artist Abbi Johnson’s career illustrates many of these changes, which is why we decided to feature Johnson in our People in Business series. In almost all creative industries, performers are now expected to also take care of business, media, communications, and much more.
Over the past several years, Johnson has combined classical performance with original choreography, international touring and artistic projects that extend beyond the theatre, reflecting a broader evolution taking place across the ballet world.
Originally from Australia and professionally trained in both the United Kingdom and the United States, Johnson currently performs as a Senior Company Artist with Ajkun Ballet Theatre in New York City. Her career has developed through a repertoire that spans classical productions, newly created contemporary works and international artistic collaborations, demonstrating the versatility increasingly required of today’s professional dancers.
That versatility has been reflected in a range of principal and featured roles. Johnson’s repertoire includes Clara in The Nutcracker, Rosalina in Romeo & Juliet, Hermia in A Midsummer Night’s Dream, and original leading roles developed for Ajkun Ballet Theatre productions. Rather than specialising exclusively in one style of ballet, she has sought opportunities across both traditional classical repertoire and newly created works, allowing her to develop as both a technician and dramatic storyteller.
One of those original works was Tango Nights, choreographed by Chiara Ajkun. Johnson originated and performed a principal role in the production, which formed part of an international collaboration between the Ajkun Ballet Company and the National Ballet of Kosovo. Originally commissioned by the Ministry of Culture of the Republic of Kosovo, the ballet was presented both in Pristina and New York, demonstrating how contemporary ballet increasingly serves as a vehicle for international cultural exchange as well as artistic expression.
While performance remains central to Johnson’s career, the profession increasingly extends beyond the stage itself. Alongside performing, she has contributed to projects that connect dancers across different countries through auditions, educational initiatives and artistic collaborations. In 2025, she produced Ajkun Ballet Theatre’s Australian tour, helping establish a long-term partnership with Sydney Eisteddfod, one of Australia’s most respected performing arts competitions. The collaboration brought together auditions, masterclasses, scholarships and a guest performance at the Sydney Opera House Ballet Gala, creating opportunities for emerging dancers while strengthening artistic ties between Australia and New York.
For Johnson, these experiences reflect a broader change occurring throughout the profession. Ballet companies today are increasingly looking for artists who can contribute not only through performance, but also through collaboration, creative development and international engagement. The ability to move between classical repertoire, original productions and cross-cultural projects has become an increasingly valuable part of a modern dancer’s career.
This evolution has also influenced how audiences experience ballet. New productions frequently combine traditional technique with contemporary storytelling, while international partnerships introduce artists and audiences to new creative perspectives. For dancers, these collaborations provide opportunities to originate roles, work closely with choreographers and participate in projects that extend the reach of ballet beyond national borders.
Johnson’s career demonstrates how these changing expectations are creating new pathways for professional artists. Rather than following a conventional trajectory focused solely on performance, her work illustrates how today’s ballet professionals often contribute as performers, collaborators and ambassadors for cultural exchange within an increasingly connected international arts community.
As ballet continues to evolve, careers like Johnson’s suggest that the future of the profession will belong to artists who combine technical excellence with adaptability, creativity and a willingness to engage with audiences and collaborators around the world.