What no one tells you about moving from Europe to America as a ballet dancer: you don’t just bring your technique. You bring your habits, your rhythm, the way you’ve always done things. Then suddenly, you’re in a new city, surrounded by new people, and everything feels a little upside down.
That was the experience for Elisa Eugenia Maria Molinari, a ballet dancer from Genoa, Italy, who moved to New York in 2023 to join Ajkun Ballet Theatre. Fresh out of school, she was used to structure, tradition, and a slower pace. In New York, the tempo changed fast.
“I was used to a very organized way of working,” she says. “In New York, things move quickly. You need to adjust, be flexible, and stay open.”
Elisa started dancing when she was four years old. She trained at Danza Luccoli 23 in Genoa before moving to Florence at 13 to study at Accademia Internazionale Coreutica. There, she spent six years training full time, performing in competitions, and working with teachers from top ballet schools across Europe.
After graduating in July 2023, she moved to New York to join Ajkun Ballet Theatre as a trainee. Just a few months later, she was promoted to Senior Artist. Since then, she has performed soloist roles in La Bayadère, Dracula, Romeo & Juliet, and The Nutcracker, and took part in a tour to Kosovo with the company’s production of Tango Nights.
“The first soloist role I danced was in La Bayadère,” Elisa says. “It was a challenge, but it helped me see what I could do on stage. It gave me confidence.”
Working in the U.S. was very different from what she was used to. In Italy, rehearsals had a clear routine. In New York, things could change quickly. Dancers were expected to learn fast, take initiative, and handle surprises without hesitation.
“Sometimes you’re learning more than one piece at the same time,” she says. “Sometimes you’re cast at the last minute. You just have to be ready.”
She also noticed that in the U.S., dancers are often encouraged to bring more of themselves into the performance. “In Italy, you follow the choreography exactly. In New York, they want to see your personality. That took me a while to get used to, but now I really enjoy it.”
Outside the studio, Elisa had to adapt too. Living in a new country, far from home, meant managing things on her own—housing, transportation, daily routines. At first, it was a lot to handle. But she says the challenge helped her grow.
“To live here, you have to be organized, but also relaxed at the same time. It’s a good mix,” she says, smiling.
To stay grounded, she relies on yoga and Pilates. These practices were part of her training in Florence and have become even more important in New York. They help her stay strong, prevent injuries, and keep her focused. She’s now working on becoming certified so she can help other dancers benefit from them too.
“I’d love to teach one day,” she says. “Helping other dancers stay healthy and strong is something I care about a lot.”
Elisa credits her family for supporting her every step of the way. Her mother works in the family’s medical business, her father in insurance. Her two older brothers were both competitive kart racers, and one now works in aviation. Even though none of them are in the arts, they’ve always supported her ballet career.
“They’ve made sacrifices for me to follow this path,” she says. “That support has made all the difference.”
Now living in the Bronx, Elisa continues to perform with Ajkun Ballet Theatre while building her life in New York. She’s still adjusting, still learning, and still excited for what’s next.
“Every project teaches me something,” she says. “There’s always something new to figure out, and that keeps it interesting.”
As she looks ahead, she hopes to keep performing, exploring new roles, and finding ways to support other dancers along the way. For Elisa, the journey is about staying curious, staying committed, and finding a rhythm that feels like her own even when everything around her is changing.
About the Author
Klara Davis is a writer and editor covering arts, culture, and the creative process. Her work often focuses on how artists develop their craft and adapt to changing contexts, both personally and professionally. She has written for independent magazines and cultural platforms, and is especially interested in stories that connect everyday life with artistic practice.